3. Design of the digital and architectural components

From the tiny essence, to his final culmination as full reality of formal content: thousands of tiny pieces assembled to form an all, an object utilitarian half and aesthetic half, agreed with the technical and artistic philosophy of the utensil to which supplies. From the isolated device, to his location within building: a spatial composition constituted by technological elements, carefully installed there where his presence invites to the observation, to formalize the act of the communication. And all collected within the stony and vitreous inorganic epidermis that covers the structure of the building: a great habitat where is reproduced a cybernetic landscape that -using the speech by López-Galiacho destined to previously alluded project, The Capable Skin- substituting the real landscape, proposes a new reading "technologically enlarged" of the building and a renewed look about concepts as place, monument and representation.

Strengthening the particular description of the images already exhibited in the preceding points, each one reflects the labor of design practiced to produce and guarantee the digital models or devices made within a context in which prevails above all the information transfer -mainly visual, iconographic- intended for an audience that demand, as were noting before, a revelations succession especially consistent that check and promote his religious conviction. Differentiated through perspectives and orthographic representations,... first and distant shots,... interior areas and peripheral zones,... diurnal views and semi-darkness extensions,... though related through the instrumental means that -except to devise them- creates them, reproduces them on the support and materializes them physically, this domain where attend the digital systems accepted for the computer technology doctrine.

The computer and the techniques of physical approximation to the reality that this implements in concerning to the volumetrics models construction, introduce in this chapter an expressive heterogeneous activity printed in successive pages as synthetic images. That graphic reality or project, with which we operate in this paragraph, installs immediately to reader in the perceptive stadium that recognizes the concurrence of several disciplines within a same design activity. Besides the contributions accomplished from the environmental area (hoarding in the end of the architectural matter, which is converted in visible head of the creative plot exhibited) projects the stipulated for other divisions belonging equally to this design gender as the industrial and graphic area. The first, responsible of specific modeling that defines the formal structure of electronic mechanisms. The second, co-operating with some of their more characteristic indicative, as the typography, for the correct assimilation of the graphic passages shown.

Digital attributes of the models, translated to synthetic representations

Concisely, the objects isolated as well as the generated scenes accept a similar construction position based on a deployment of vectorials forms whose physical complexion (virtual) attends to a modeling plans of objects through two- and three-dimensional geometric trasformations (traslation, scale, rotation, cutting, reflection,...) and to a methods of 3D models representation (constructive solid geometry, particle systems, run representations, fractal geometry,...). Once defined the morphology of object, his composition within virtual space, and congenially inserted the lighting elements (environmental, exact, focal and/or distant) and the camera (fixed or free objective), we should designate and apply one of methods of surfaces presentation. Algorithms that supply to the image the own qualities of a photorealistic perception (location and treatment of visible areas, surfaces shading, transparencies, textures, etc.), valuing at all times the service lent in such intervention by the light sources present in the scenic context.

Thus, to make a good part of the representations - already examined as well as those which we will see below - we will opt for using the ray-tracing method (supplied in the last phase of process, during the rendering of the image plane) considering the quantity of visual effects that appear in each vectorial scene. Results that the radiosity lighting model does not develop of equal form, since this contemplates a better approximation to the reality of the synthetic object from diffuse reflections between surfaces, letting in a second place various material qualities that were wishing appear explicitly traced.