La aplicación de stop-motion en arquitectura: materia y luz

Se inicia un análisis de los procesos de trabajo de stop-motion porque ayudan a comprender las diferentes escalas en arquitectura donde las maquetas se convierten en futuros prototipos de infraestructuras de edificios o de paisaje. Stop motion es una técnica de animación fotograma a fotograma de objetos estáticos mediante la manipulación de figuras de plastilina en entornos fijos con cambios de luz, color y sonido. Igual que dicha técnica reúne lo mejor del rodaje tradicional -story board, escenografía, fotografía, personajes, iluminación- la animación de maquetas de interiores sintetiza micro-procesos de mayor repercusión -habitaciones con cambios de humedad, de temperatura, de ventilación y de iluminación- incorporando efectos especiales que son procesados digitalmente en post-producción. Se construyen varios prototipos de habitación con parámetros fijos como el tamaño y la posición de la cámara y otros variables como los materiales, los personajes y la iluminación. Representan un mundo en miniatura que intenta aportar un acercamiento sensorial y atmosférico analizando la magia y la fantasía que Junichirô Tanizaki describe en la penumbra de las construcciones tradicionales japonesas y estudiando las imperfecciones de los escenarios que Tim Burton manipula en su películas de animación con una textura que las tecnologías digitales no pueden igualar. El objetivo es utilizar una escala micro para realizar unos modelos interiores donde las condiciones atmosféricas están controladas y reducidas, y tomar datos que se podrían aplicar a un proceso de modelado a escala intermedia para testar prototipos de edificios como el túnel de viento; o, finalmente, a una escala macro con maquetas de un sector de la costa o de un río donde los fenómenos meteorológicos son los protagonistas para simular inundaciones y diseñar futuras medidas de prevención y seguridad.

Analysis of the colorimetric properties of goniochromatic colors using the MacAdam limits under different light sources

Technological innovation in all areas has led to the appearance in recent years of new metallic and pearlescent materials, yet no exhaustive studies have been conducted to assess their colorimetric capabilities. The chromatic variability of these special-effect pigments may largely be due to the three-dimensional effect of their curved shapes and orientations when they are directionally or diffusely illuminated. Our study examines goniochromatic colors using the optimal colors (MacAdam limits) associated with normal colors (photometric scale of relative spectral reflectance from 0 to 1) under certain conventional illuminants and other light sources. From a database of 91 metallic and interference samples and using a multi-gonio-spectrophotometer, we analyzed samples with lightness values of more than 100 and others with lightness values of less than 100, but with higher chromaticities than optimal colors, which places them beyond the MacAdam limits. Our study thus demonstrates the existence of chromatic perceptions beyond the normal solid color associated with these materials and independent of the light source. The challenge for future research, therefore, is to replicate and render these color appearances in current and future color reproduction technologies for computer graphics.

Effects of high-color-discrimination capability spectra on color-deficient vision

Light sources with three spectral bands in specific spectral positions are known to have high-color-discrimination capability. W. A. Thornton hypothesized that they may also enhance color discrimination for color-deficient observers. This hypothesis was tested here by comparing the Rösch–MacAdam color volume for color-deficient observers rendered by three of these singular spectra, two reported previously and one derived in this paper by maximization of the Rösch–MacAdam color solid. It was found that all illuminants tested enhance discriminability for deuteranomalous observers, but their impact on other congenital deficiencies was variable. The best illuminant was the one derived here, as it was clearly advantageous for the two red–green anomalies and for tritanopes and almost neutral for red–green dichromats. We conclude that three-band spectra with high-color-discrimination capability for normal observers do not necessarily produce comparable enhancements for color-deficient observers, but suitable spectral optimization clearly enhances the vision of the color deficient.

Spectrally tunable light source based on light-emitting diodes for custom lighting solutions

This study describes a novel spectral LED-based tunable light source used for customized lighting solutions, especially for the reconstruction of CIE (Commission Internationale de l’Éclairage) standard illuminants. The light source comprises 31 spectral bands ranging from 400 to 700 nm, an integrating cube and a control board with a 16-bit resolution. A minimization algorithm to calculate the weighting values for each channel was applied to reproduce illuminants with precision. The differences in spectral fitting and colorimetric parameters showed that the reconstructed spectra were comparable to the standard, especially for the D65, D50, A and E illuminants. Accurate results were also obtained for illuminants with narrow peaks such as fluorescents (F2 and F11) and a high-pressure sodium lamp (HP1). In conclusion, the developed spectral LED-based light source and the minimization algorithm are able to reproduce any CIE standard illuminants with a high spectral and colorimetric accuracy able to advance available custom lighting systems useful in the industry and other fields such as museum lighting.