The survey carried out with these technologies allows lows you to automatically obtain any section plane and projection plane , plans , elevations
, axonometries , perspectives pect and photo-planes , with excellent graphic rendering ring . The drone , for topographic surveys and photographic recording rdin
, is an important technological aid for the measurements on the territory and for the control of construction sites by monitoring the progress ress of the construction work . For a designer , especially one who works in an Italian environment , where most of the buildings are historical , these tools become essential starting points for the development of any kind of project . Once the survey has been done and after studying the project , the true heart of the design process , you move on to the graphic representation capable of transmitting and making the design idea understandable to the client . This is a laborious and complex stage , as the client is not accustomed to read the blueprints ; usually he never manages to fully understand the designed and finished space , especially when it comes to the lighting effects , because there is usually a limited available time . Through the AR , VR and MR virtual representation , the client could dive into a design experience in a simple and fast way , and the project would become visible and understandable for everyone , thanks to the new implementations of techniques , tools , and the large accessibility of computer powers . The Virtual Reality is a powerful tool that allows you a control over visual stimuli previously unthinkable , and offers experimental research conditions that are easy to define , control , and replicate . However , the new technology is not yet able to recreate the same experiences of the real world , as there are still differences such as the absence of the physical body and non-natural experiences that make these tools , although
very useful , not real . 3 . Being able to use these tools would be
very useful . With these innovative means I would have the possibility to control the project better , and with less mental effort , reducing possible design errors . In addition , I could deal with the executive part with more serenity , as I would be sure of the client ’ s awareness of the final result . But the fee would become too high and uncompetitive in today ’ s market . Moreover , it should not be forgotten that the real heart of design and the success of the work does not depend on these tools , but on the brain matter that is inside the head of every professional , which is the result of studies , culture , and personal experience . At the centre of the world of design there is still the individual and not the technology , which is basically only a means of reproducing
an idea in a more accurate way . 3 . Now , I am part of another generation , so
I can ’ t get rid of the use of paper and pencil in my everyday life . The pencil allows me to think and design , which is not easy for me if I use AutoCAD right away . The AutoCAD and the BIM are platforms that accurately represent design thinking , while the pencil is an extension of my brain , and the graphic sign that is born is part of my thinking
and indispensable in design . Then the idea is poured into the electronic brain , allowing the design to be stored , processed , calculated ,
and modified throughout its life . 4 . The use of these tools involves a greater
number of staff at the service of the project , and also continuous updates and new skills are required ; therefore , dedicated people are needed . In small and medium-sized businesses such as my professional studio , it is unthinkable to have staff with only one type of expertise , especially in the current difficult historical moment . Our sector , which is constantly evolving in the working methodology and in hardware and software instrumentation , involves huge investments in economic terms , especially in terms of human resources . This is becoming a limitation within professional firms . The client is not always able to pay for these additional items within the professional fee of a lighting designer , which already consists of many items . Often this cost is borne by the architect , who has been chosen in the environmental redevelopment , but if the renovation work only concerns the new lighting , then the cost is included in the lighting designer ’ s fee , which is already complex in itself for the client to accept .
Claudio Valent
Lighting Designer , Metis Lighting 1 . They are interesting tools , but for now their
use in our sector is still occasional . They can
only be used in very rare cases , when the importance and budget of the work allows it . They are definitely not the everyday tools that lighting designers use . What we have found out is that if the rendering that is the basis of virtual reality is not perfectly realized , a sketch that represents the idea of the lighting effect is far more effective . In any case , the simulation of the real impact of the lighting in the environment is still very schematic , and certainly the pleasure and emotion on that physical light arouses is totally absent . Very often , in the projects we work on , we prefer creating a real mock-up , which is a much more effective rendition . 2 . It is possible , but this problem should not affect lighting designers . I understand that for many people e the lighting design is reduced to compliance ce with regulatory
requirements ( on which the algorithms of these software are calibrated ated ) or is functional to the sale of lighting fixtures , but a LD does not only deal with this , and I think the readers of LUCE know this well . 3 . The BIM process is really the most innovative tool in recent years that designers have at their disposal and are learning to use . Motivated by this change , we too have equipped our studio , by acquiring the software and
hardware and investing in the training of our lighting designers . It is now an indispensable tool to maintain control over the entire design process , from the preliminary design to the
Photo @ Studio Millspace
Treasure Garden Tower a Taichung , Taiwan
Progetto architettonico / Architectural project : Antonio Citterio Patricia Viel
Progetto illuminotecnico / Lighting design : Metis Lighting
Anno / Year : 2018
88
LUCE 334 / SPECIALE