ESSE WORK SAMPLE OF HUOPU ZHANG
CONTENTS
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UKIYO-E AR / An AR Camera on iOS
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ASTRODEX / An Interactive Codex of Celestial Bodies
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03
‘EX MEMORIA, DOCTRINIA’ / Immersive Game Landscape
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04
CUNEIFORM ACROSS THE GLOBE / Data Visualization
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05
PIANTA DI NOLLI – MAPPA MUNDI / Cartographic Studies
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01 UKIYO-E AR/ An AR App on iOS Project Year: 2018 Collaborator: Minzi Long, MAUD 19, GSD Video Demo: https://youtu.be/ec607oIJ_D4 Github Repo: https://github.com/Kharasso/Ukiyoe-AR
Ukiyo-e is a traditional Japanese art that vividly depicts the life and scenery of the Edo period. The name ‘Ukiyo-e’ originally means ‘Floating World’ in Japanese. This makes us wonder if we can bring these static pictures into life and make them really ‘floating’ with the help of AR technology. To achieve this, we developed this iOS app with an AR Camera that allows the user to see modern interpretations of the original art pieces. With the success of the implementation of our app, we also look to extend its usage to other kinds of exhibtions under a museum setting. In this project, I was in charge of the development of the iOS interface, view controllers and the integration of the Unity contents into the app in Xcode. I also worked on some of the AR contents in Unity. Note that some of the art pieces that we overlaid on the original works are done by the Japanese artist Segawa Thirty-seven and the Singaporean artist Sokkuan Tye.
Unity/Vuforia Image Recognition and AR Overlays
The AR contents are first developed in Unity. We used the Vuforia library to achieve image recognition of 9 target images. Then we overlaid new contents on these images, for instance, 3D models we made in Blender, videos done by the Japanese artist Segawa Thirty-Seven and images done by the Singaporean artist Sokkuan Tye. When these works are done, we exported the contents as an iOS component so that we can integrate them into our iOS app.
Our own 3D Interpretation of the Hokusai’s work done in Blender overlaid on the original piece. It includes a virtual button that, once clicked, will trigger motions of the elements.
Motion pictures done by Segawa Thirty-Seven Overlaid on the original piece done by Katsushika Hokusai
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iOS UI/UX – Instructions on the AR Camera and Information of the Developers are Shown on the Intro Pages and the
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iOS UI/UX – Potential Application of the App on Future Exhibitions Are Published on the Calendar Views
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The AR Camera View – Integration of the Unity/Vuforia AR Contents into the iOS App
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02 ASTRODEX/ An Interactive Codex of Celestial Bodies Project Year: 2020 Collaborators: Ruijun Liu, MDes, GSD Website: https://kharasso.github.io/codex_galaxiae/index.html Github Repo: https://github.com/Kharasso/codex_galaxiae Video Demo: https://youtu.be/5qBPBKarNQ8
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This project aims at creating an interactive visualized CODEX for stars that are documented in the HYG Celestial Body Dataset. On one hand, it visualizes the distribution of non-spatial features of stars, which offers a way for the audience to explore stars by grouping them according to some chosenqualities. On the other hand, it also provides the user with the opportunity to explore the spatial distribution of stars with similar qualities, rendering them with a spatial layout and also showing real telescopic snapshots taken from Aladdin Lite API. Data cleaning and transformation is processed in Python (pandas, numpy, etc). The visualization is implemented in D3.js along with HTML, CSS and JavaScript. Dataset used in this project is from HYG Database: https://github.com/astronexus/HYG-Database
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The Index Page – Visualization of Distribution of Non-Spatial Properties of Celestial Bodies in the HYG Dataset Parameter Selection Toggles
Preview of Selected Range
Parameter Selection Toggles
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1D Histrograms of the Two Chosen Parameters
2D Histogram of Stars Falling in Different Ranges of Chosen Parameters (Here, X-Axis is Luminance, Y-Axis is Apparent Magnitude)
Preview of Spatial Distribution Count: 240
Ranges: X-Axis Param (0.01, 11.86) Y-Axis Param (9.23, 9.69) Count: 115
Ranges: X-Axis Param (23.71, 35.56) Y-Axis Param (8.30, 8.77) Count: 11
Ranges: X-Axis Param (106.67, 118.52) Y-Axis Param (7.38, 7.84)
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Spatial Plot of All Stars Within the Chosen Range From the Previous View
Information on the property ranges of the current collection of celestial bodies
Select a Region for Zoomed-In View
x-y Coordinate Filter
z Coordinate Filter/ Sliding Window
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Zoomed-In View With Details of Celestial Bodies When Clicked On
Image From Aladin Sky Atlas API
HD 53258 Distance to the earth: 290.6977 Luminosity: 25.05 Radial Velocity: 0.0 Absolute Visual Magnitude: 8.670 Apparent Visual Magnitude: 1.353 Color Index: 0.882 x coordinate: -264.75178999 y coordinate: 76.56775400 z coordinate: 92.46091899
HD 54449 Distance to the earth: 300.3003 Luminosity: 28.79 Radial Velocity: 14.0 Absolute Visual Magnitude: 8.590 Apparent Visual Magnitude: 1.202 Color Index: 0.113 x coordinate: -253.12784700 y coordinate: 55.470912 z coordinate: 151.75511799
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03 ‘EX MEMORIA, DOCTRINIA’/ Immersive Game Landscape GSD 2016 Spring. VIS-2449 Representation through Gaming Technology. Instructor: Eric de Broche des Combes.
‘Ex-Memoria’ is my first attempt in developing a video game. It aims at creating a dystopic land named ‘Doctrinia’ for the player to navigate through and incorporates a world setting that can be expanded into a full storyline in the future. It involves a strong imagery pattern that sets up the main tone of the landscape. At the same time, it uses other minor elements to build up visual and textual information for the player, who is set to be deprived of all his memories and relies on all these messages to rebuild his understanding of this society. The messages, along with the media that carry them, the televisions and graffiti, further enhance the dystopic mood of the environment.
Design Drafts – Concepts and Settings The Basic setting of the game consists of three elements: I. The ‘Totem of Totalitarianism’, which is the image pattern that makes up the tone of the surroundings and keeps reminding the player of the fact that there is an authority known as ‘the Instructors’ that is manifesting its superiority and highness to the land. II. The Television, which are the main vehicle with which the authority uses as its propaganda machine. At the same time, they are, as the word ‘tele-vision’ literally means, stealthily also remote monitors installed by the authority for the purpose fo surveillance. III. The Texts, often realized in the form of graffiti, are the marks left by people from the underbelly of the society and provide the player with information from another perspective.
The Televisions
The Totems of Totalitarianism
The Texts
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[2016 Spring]
[Huopu Zhang]
[ Ex-Memoria ]
[2016 Spring]
[Huopu Zhang]
[ Ex-Memoria ]
It is a world of words, especially in their written form. The society seems to be highly orderly and well-organized, as is depicted through its ubiquitous propaganda machine, the televisions. However, in the underbelly of the metropolis, there exists a large body of graffiti that speaks of a different story and gives out information in a different tone.
World Setting and the Main Character The main character has, for some reason yet unknown, been deprived of his memories. Upon awakening in the game, he gets exposed to the information that is given through the ubiquitous television broadcasts while he will also start to find written messages left by some other people. His understanding of the society and perhaps his own identity relies on these messages he collects.
The Land of Doctrinia and its Society
The Instructors
INSTITUTIO
INQVISITIO
MENS
COR
Hesperia
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The Landscape Overview – A Sample of the Land of ‘Doctrinia’
Top View – The River and the ‘Paths’. 17
Front View – The Mountains with the ‘Totems of Totalitarianism’. 18
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04 CUNEIFORM ACROSS THE GLOBE/ Data Visualization Project Year: 2019 Individual Work as a Digital Teaching Fellow at the Department of Near Eastern Studies at Harvard University
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This project is created while I was working as a digital teaching fellow at the department of Near Eastern Studies at Harvard University, where I was involved in digitizing artifacts and creating libraries for textual and non-textual materials. This specific data visualization is produced as a digital poster for the initiative for virtual repatriation of Ancient Mesopotamian Artifacts. It explores the global distribution of mesopotamian cuneiform tablets at the time being. It also provides information on further details on the situation of each individual categories of these textual materials. Data cleaning and transformation is processed in Python (pandas, numpy, etc). Dataset used in this project is from the UCLA cdli Database: https://github.com/cdli-gh/data
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Top 10 Countries with the most c
Mapping of the Displacement of Cuneiform Tablets and Inscriptions Across the World Initiative for Virtual Repatriation of Ancient Mesopotamian Artifacts
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19th century archaeological activities in western countries has led humanity to the great rediscovery of our past. However, in the process, numerous artifacts and findings were taken out of their countries of origin. Today, take ancient Mesopotamian textual objects as an example, over 90% of recorded works are located outside Iraq. Digitization of these archaeological findings through means of AR/VR and 3D reconstruction technologies not only facilitates the sharing of these materials in the academic circle but also provides opportunites of easy access for the general public, including people from where these objects were originally found. Sharing these artifacts through virtual technologies also avoids potential damage that can be caused during long distance travels.
Netherlands Switzerland Letter
Omen Scientific Incantation Mathematical
Iraq
Turkey Japan Italy France
Literary Germany
Royal
USA Legal
School
Administrative UK
cuneiform tablets
Lexical *The original data for this research is obtained from CDLI - Cuneiform Digital Library Initiative maintained by UCLA
Type of Text
Current Location
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05 PIANTA DI NOLLI – MAPPA MUNDI/ Cartographic Studies Project Year: 2016 Individual Mapping Study for GSD STU 1202
This is a comparative mapping study conducted as part of site analysis for an urban design studio project. The content of the site analysis includes the study of several urban static and dynamic indicators in a pair of chosen neighborhoods in New York and Boston respectively. The mapping results are presented in two vastly different cartographic formats – one being based on the nolli map and faithful to scales, the other being based on the medieval mappa mundi where emphatic depictions of certain items largely elude the constraints of scales and where the information is intended to be more narrative and even encyclopedic.
Mapping Study of Urban Dynamics and Statics in Williamsburg, Brooklyn and South Boston
CONTINGENT CITY:
COLLECTIVE INTERIORS:
INTERSECTION AS PERCEPTION
FORM AS AN ISLAND
New York Neighborhood – Static
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New York Neighborhood Dynamic
CONTINGENT CITY:
COLLECTIVE INTERIORS:
INTERSECTION AS PERCEPTION
FORM AS AN ISLAND
Boston Neighborhood Static
Boston Neighborhood Dynamic
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Remapping in ‘Mappa Mundi’
New York Neighborhood – Static
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New York Neighborhood Dynamic
Boston Neighborhood Static
Boston Neighborhood Dynamic
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Huopu Zhang Cambridge, MA | Guangzhou, China. hzhang@gsd.harvard.edu | airlay88@gmail.com https://huopuzhang.com | https://github.com/Kharasso