Activity Report
2020

Mar., 2021
Graphics Literacy Education and Research Center
Graduate School of Engineering
Kobe University

Objectives

Objectives of Establishing the Graphics Literacy Education andResearch Center
Hirotaka SUZUKI1 and Kimihiro SAKAGAMI1
1

Department of Architecture, Graduate School of Engineering; and Graphics Literacy
Education and Research Center
Keywords: Graphics Literacy, Education, Center, Establishment, Objectives
The Graphics Literacy Education and Research Center (GLEC) was established in April 2020

as an affiliated research center of the Graduate School of Engineering. The “Objectives andPurposes of GLEC” and “Needs for GLEC” in the “Report on Establishment of an AffiliatedCenter” are described as follows.
Objectives and Purposes of GLEC
“Encompassing urban and architectural planning, environmental and energy management, andindustrial design, the center focuses on basic studies, groundbreaking education of leading-edgeknowledge, and research practice, including aesthetic examinations of interdisciplinary andmultiscale graphics literacy for all areas. With young faculty members playing a central role, thecenter widely introduces the results of individual research and educational practices to the outside
world.”
Needs for GLEC
“It has been demonstrated in history that truly valuable objects are not only functional but also
have value from an aesthetic perspective. With this in mind, we conduct integrated research basedon aesthetics, graphic science, and other studies that form the basis of design. While reflecting
this in education, it is necessary to cultivate human resources that have both a scientificperspective for pursuing high functionality and an aesthetic sense of value.”
As described above, the keywords of GLEC are multiscale, interdisciplinary, comprehensive,
aesthetics, and graphic science.
Graphic science focuses on learning a technique called projection to display a threedimensional object on a two-dimensional surface. It was introduced in the Meiji Period as a
subject to be studied by science and engineering students involved in manufacturing. It has been
considered as a means to design and produce “objects” as final products, focusing on exercisingObjectives

hand drawing of figures (hand-drawn graphic science). However, the introduction of computersin the 1990s resulted in an expansion of graphic science to include games and animations, andhigh-quality figures in computer graphics (CG) came to be considered final products. Since the2000s, research and education using origami techniques and 3D printing have been blooming,
reinforcing the relationship with manufacturing. The main work of GLEC is reorganizing thegraphic science taught at our university to provide educational content befitting the new era.
Hence, as shown in Fig. 1, we define “draw,” “manufacture,” and “measure” as three areas ofliteracy that should be acquired by students of engineering, and GLEC will provide education,
considering utilization of the associated knowledge and technology (e.g., CAD/CG, 3D printing,
3D scanning, and drone surveying) in various scales and fields.

Fig. 1. Education provided by GLECIn relation to this, the course contents of Graphics Literacy A and D, scheduled to be offeredfrom FY 2021, are described in a separate article (Graphics Literacy B and C are planned to behand-drawn graphic science). GLEC was launched under various coronavirus-related restrictions.
Amid a condition that completely overturned the previously existing way of spatial design, GLEC
held a public competition to solicit spatial designs and technology proposals that would help
people associate with each other in a space where people gather while maintaining social distance.
This is also described in a separate article. Furthermore, a lecture series “Understanding Complex
Phenomena through Graphical Representations” is being held for the purpose of giving back tosociety regarding graphics technology and is described in separate articles.
A ceremony to celebrate the opening of GLEC will be held on March 24, 2021, with seminars
inviting prominent graphics researchers from Japan and abroad. At the same time, a graphics

Objectives

exchange meeting will take place by using avatars to explore the ways of communication usinggraphics technology under the coronavirus pandemic.
Members
Director
Hirotaka SUZUKI (Dept. of Architecture)
Vice Director:
Masatoshi KITAMURA (Dept. of Electric & Electronic Eng.)
Deputy Directors
Kimihiro SAKAGAMI (Dept. of Architecture)
Kenzo TAGA (Dept. of Architecture)
AdvisorShuhei ENDO (Dept. of Architecture)
Staffs from Faculty of Engineering:
Atsushi KOIKE (Dept. of Civil Eng.)
Naoto OHMURA (Dept. of Chemical Sci. & Eng.)
Nobutaka KUROKI (Dept. of Electric & Electronic Eng.)
Naoko KURIYAMA (Dept. of Architecture)
Satoru TAKADA (Dept. of Architecture)
Ken NAKAE (Dept. of Architecture)
Ruri HIDEMA (Dept. of Chemical Sci. & Eng.)
Yuichiro YAMABE (Dept. of Architecture)
Tamotsu ASAI (Dept. of Architecture)
Keiko GION (Dept. of Civil Eng.)
Staffs from Kobe Univ.
Hiromitsu UMEMIYA (Grad. School of Human Development and Environment)
Ichiro NAGASAKA (Grad. School of Humanities)
Cooperative Researchers (Domestic)
Ryuji KURODA (Dept. of Architecture)
Tatsushi TANAKA (Niteco Co., Ltd.)
Narurou MAEDA (T&T Co., Ltd.)
Yousuke NAKATA (T&T Co., Ltd.)
Cooperative Researchers (Oversea)
Francesco ALETTA (University College London)
Modris DOBELIS (Riga Technical University)
Daiva MAKUTENIENE (Vilnius Gediminas Technical University)

Public Competition

Public Competition “Staying Connected While Apart” for Maintaining“Social Distancing”
Hirotaka SUZUKI1, Kenzo TAGA1 and Kimihiro SAKAGAMI1
1

Department of Architecture, Graduate School of Engineering; and Graphics Literacy
Education and Research Center

Keywords: Social Distance, Public Competition, University Campus, Spatial Design,
Technical proposal
As a part of a countermeasure against the COVID-19 pandemic, the public has been called on
to avoid the “three Cs,” which means closed spaces, crowded places, and close-contact settings.
Reflecting on the history of pandemic outbreaks in the past leads us to think this kind of constraint
will last for an extended period of time in various fields of society, and the world may never returnto pre-pandemic life. Traditionally, the field of spatial design placed a high value on ideas that
actively promote and nurture connection, activeness, and connectedness. However, because theseconcepts are mutually related to the “three Cs,” the field of spatial design will be confronted witha paradigm shift in the future.
Against this backdrop, we held this competition to identify innovative ideas centering on thetheme of “Staying Connected While Apart,” looking ahead to the post-COVID-19 era. The themeof this competition is to design a space on campus to convey the university as a space available
for both experimental research activities and recreational activities for the local communities. The
objective of this competition is to provide support to participants in realizing their outstanding
proposals while evaluating their effectiveness. In addition to spatial design (Category A), thiscompetition also invited technical engineering proposals as Category B in the fields ofmechanical/electrical/information engineering, applied chemistry, or the combination of those, inorder to realize a well-developed open space that meets the social distancing requirements.
This competition was publicly announced on July 14, 2020, and we received 10 proposals for
Category A, and 3 proposals for Category B by the deadline on September 7, 2020. After theselection stage, prizes were given as follows: 1 First Prize winner and 2 Award of Excellence
winners in Category A; 1 First Prize winner in Category B. Please refer to the following pages
that include the call for entries leaflet and reports on the competition results for details on theinvitation to the competition, judging criteria and feedback, and winners. The award ceremony
was held on October 29, 2020. As shown in Photos 1 to 4, prize-winning individuals /groups
received the certificate of merits from Professor Naoto Ohmura, the Dean of the EngineeringPublic Competition

Research in Architecture. Currently, mockup making and other preparations are undertaken to
realize the First Prize proposals.

Fig. 1. First Prize in Category A (spatial design): Kotoko Onishi, So Yo. Awarded proposal:“Fluctuation of Waves： Distanced yet Connected by the Wave Bench”

Fig. 2. First Prize in Category B (technical engineering): Kentaro Emura, Hiroaki Aoki, Kota
Kirinoe, Haruka Yagyu, Kai Washino, Sotaro Nishihara, Natsumi Matsui. Awarded proposal:“Social Mile Post: Mile Post for Connecting While Distancing”

Public Competition

Fig 3. Award of Excellence in Category A (spatial design): Satoshi Nagamoto, Ryo Nishimura,
Miyu Iwahashi, Risa Kizaki, Kento Shu, Sae Matsushita, Hinako Yamajo, Suzu Sakamoto, Aoi
Yonemitsu. Awarded proposal: “In the Right Middle of a House and an Open Field”

Fig 4. Award of Excellence in Category A (spatial design): Akihiro Koike. Awarded proposal:“Embellishing the Place with ‘Places of Dancing Colors’”Public CompetitionFig 5. Group photo after the award ceremony

Public Competition
Public Competition
Flyer

Public Competition “Staying Connected While Apart”
Invitation of proposals for the open space at Kobe University’s Faculty ofEngineering
Today, we are requested to avoid the so-called “three Cs:” closed spaces, crowded places, andclose-contact settings, as a part of a countermeasure against the COVID-19 pandemic. Reflecting
on the history of pandemic outbreaks in the past leads us to think this kind of constraint will last
for an extended period of time in various fields of society, and the world may never return to prepandemic life. Traditionally, the field of spatial design placed a high value on ideas that actively
promote and nurture connection, activeness, and connectedness. However, because these concepts
are mutually related to the “three Cs,” the field of spatial design will be confronted with aparadigm shift in the future.
Against this backdrop, we hold this competition to identify innovative ideas centering on thetheme of “Staying Connected While Apart,” looking ahead to the post-COVID-19 era. The themeof this competition is to design a space on campus to convey the university as a space available
for both experimental research activities and recreational activities for the local communities. The
objective of this competition is to provide support to participants in realizing their outstanding
proposals while evaluating their effectiveness. In realizing a well-developed open space thatmeets the social distancing requirements, this competition not only calls for proposals in spatial
design (Category A), but also in technical engineering as Category B in the fields of mechanical/
electrical/ information engineering, applied chemistry, or the combination of those.
Space to be designed
An open space at the south side of the Faculty of Engineering No.3 building at Kobe University
Categories
Category A: Spatial Design / Category B: Technical Engineering Proposal
Prizes-Category A: First Prize (1 proposal) / Honorable Mention (a few proposals)-

Category B: First Prize (1 proposal) / Honorable Mention (a few proposals)

First Prize winners will receive 250,000 Yen for Category A and 100,000 Yen for Category B for
the realization of the proposals.

Public Competition
Public Competition
Flyer

Submission Requirements-

The resolution of submitted materials must be higher than 350pi.

-

Category A: the proposal must fit in 1 sheet in A1 size (PDF format) with concept description,
drawings, perspective images, and photos.

-

Category B: the proposal must fit in 1 sheet in A3 size (PDF format) with written descriptionof the proposing engineering idea, with supporting diagrams.

-

For submissions to both categories, please attach the application form that may be
downloaded from the following link.
http://www.research.kobe-u.ac.jp/eng-glec/form.xls

Method of submission and deadline
Save the submission materials on a DVD or a CD disc and forward it to the following address(must arrive no later than September 7, 2020). A printed copy of the proposal is not required forsubmission, except the printed application form.
Addressee:
Public Competition Committee, Graphics Literacy Education and Research Center, Faculty ofEngineering, Kobe University
1-1, Rokkodai-cho, Nada-ku, Kobe city, 657-8501, Hyogo prefecture, JAPANQualification
Undergraduate / graduate students at Kobe University. Individual(s) or group(s) who can realize
their proposal upon winning the First Prize in each category.
Others-Both proposals with “highly feasible” and “not highly feasible but appraisable” ideas will beassessed and appraised, while the First Prize will be given to the concept with high feasibility.
When submitting a proposal with high feasibility, please also include a cost proposal as a
submitting material.

-

The juries evaluate not only the universality of the proposed designs and engineering ideas
for realizing the concept “Staying Connected While Apart” that looks ahead to the postCOVID-19 era, but also the compatibility of the proposals with the special conditions of thespace to be redesigned.

-

Copyright of the submitted proposal belongs to the submitting individual / group. However,
the organizer of the competition and the Graduate School of Engineering hold the right to use
the data of submitted proposals free of charge in cases where they publish or exhibit thePublic Competition
Public Competition
Flyer

proposals on a website or other media.
Announcement of evaluation results
The results will be announced at the following link on September 30, 2020:
http://www.research.kobe-u.ac.jp/eng-glec/
Awards juries
Category A: Shuhei Endo, Naoto Ohmura, Atsushi Koike, Kenzo Taga, Ichiro Nagasaka, Naoko
Kuriyama, Ken Nakae, Tamotsu Asai, Keiko Gion.
Category B: Yoshitada Isono, Masatoshi Kitamura, Kimihiro Sakagami, Nobutaka Kuroki,
Hirotaka Suzuki, Akira Takada, Yuichiro YamabeContact
eng-glec@research.kobe-u.ac.jp
Host
Graphics Literacy Education and Research Center, Faculty of Engineering, Kobe University

Public Competition

Public Competition for Maintaining Social Distancing: “Staying Connected
While Apart”
Category A (Spatial Design) Evaluation Results
September 30, 2020
Category A (spatial design) chief jury
Kenzo Taga (Professor of the Graduate School of Engineering)
Category A (Spatial Design)First Prize
Kotoko Onishi, So You“Fluctuation of Waves: Distanced yet Connected by the Wave Bench”

Image photos of submitted proposal (extracted from the submitted PDF)

Public Competition

Award of Excellence
Satoshi Nagamoto, Ryo Nishimura, Miyu Iwahashi, Risa Kizaki, Kento Shu, Sae
Matsushita, Hinako Yamajo, Suzu Sakamoto, Aoi Yonemitsu. Awarded proposal: “In the
Right Middle of a House and an Open Field”

Image photos of the submitted proposal (extracted from the submitted PDF)
Award of Excellence
Akihiro Koike“Embellishing the place with ‘places with dancing colors’”

Image drawing of the submitted proposal (extracted from the submitted PDF)
The theme of this competition is to design a space on campus to convey the university
as a space available for both experimental research activities and recreational activities
for the local communities. The objective of this competition is to provide support toparticipants in realizing their outstanding proposals while evaluating their effectiveness.
This competition was announced on July 14, 2020, and 10 proposals were submitted

Public Competitionby the deadline on September 7, 2020. For the Spatial Design category, a jury of 9 people(Shuhei Endo, Naoto Ohmura, Atsushi Koike, Kenzo Taga, Ichiro Nagasaka, Naoko
Kuriyama, Ken Nakae, Tamotsu Asai, and Keiko Gion) examined and evaluated thesubmitted proposals. The first round of evaluation was conducted to give 5 levels ofgrading from 1 to 5, from the viewpoints of design quality, compatibility with the site,originality, feasibility, and the potential for universality. The second round of evaluation
was conducted in the form of online discussion in which 9 juries gave critique for each
proposal, describing the evaluation criteria and proposals that they regarded highly. After
those rounds of evaluations, the chairperson of the jury suggested the following
evaluation method: 7 proposals that received more than 60 points (the average of the
grand total is converted into 100 points scoring) in the 1st round of evaluation wereselected for voting by jury members as the 1st voting round; each jury has 3 points withthe chances to vote for 3 proposals. As a result of the 1st voting round, 1 proposal received
unanimous points, and this proposal was awarded the First Prize at this point; among
those 6 remaining proposals, 2 proposals did not receive any point in the 1st round of
voting so they were excluded; juries conducted the 2nd round of voting with those 4
remaining proposals where each jury was given 1 point to vote for 1 proposal; 2 proposals
received higher points than the others, therefore they acquired the Award of Excellence.
While the outline of this competition mentioned that the First Prize shall be given to 1
proposal and an Honorable Mention will be given to a few proposals, those 2 proposals
selected in the 2nd round of voting were very highly regarded among juries, so they wereawarded with the Award of Excellence prize instead of the Honorable Mention prize.
The proposal that received the First Prize, “Fluctuation of Waves: Distanced yet
Connected by the Wave Bench” received high praise for its well-developed design thatingeniously connects the action of sitting down on a bench to the action of maintaining
distance from each other, thoughtful allocation of benches that prevents people fromfacing each other, a good harmony of the design with the site, and the design of sightlines.
The proposal that received the Award of Excellence, “In the Right Middle of a Houseand an Open Field” was highly praised for its novelty and the quality of the design
expected to be utilized among various generations. Another proposal receiving the Awardof Excellence, “Embellishing the Place with places of Dancing Colors’” was highly
regarded for its originality, compatibility with face masks / face shields, and responding
to the conditions under the COVID-19 pandemic by intentionally taking a direction
without placing any seating on site.
Regarding the installation of benches and poles based on the First Prize proposals,
some requests were made to the winners to ensure the safe usage of the site with

Public Competition

consideration to the cases where the site is used during holidays when the site
administrator cannot keep an eye on the safety of visitors. They were requested to ensure
safety by thoroughly discussing with the site administrator regarding the materials andthe installation method. The links to the PDF presentations of the First Prize winners andthe Award of Excellence winners are provided in the following:
Category A (Spatial Design)First Prize
Kotoko Onishi, So Yo“Fluctuation of Waves: Distanced yet Connected by the Wave Bench”
Award of Excellence
Satoshi Nagamoto, Ryo Nishimura, Miyu Iwahashi, Risa Kizaki, Kento Shu, Sae
Matsushita, Hinako Yamajo, Suzu Sakamoto, Aoi Yonemitsu“In the Right Middle of a House and an Open Field”
Award of Excellence
Akihiro Koike“Embellishing the Place with ‘places of Dancing Colors’”Public Competition

Public Competition for Maintaining Social Distancing: “Staying Connected
While Apart”
Category B (Technical Engineering) Evaluation Results
September 30, 2020
Category B (Technical Engineering) chief jury
Kimihiro Sakagami (Professor of the Graduate School of Engineering)
Category B (Technical Engineering)First Prize
Kentaro Emura, Hiroaki Aoki, Kota Kirinoe, Haruka Yagyu, Kai Washino, Sotaro Nishihara,
Natsumi Matsui“Social Mile Post: Mile Post for Connecting While Distancing”

Image drawing of the submitted proposal (extracted from the submitted PDF)
Honorable Mention
No prize winner
The theme of this competition is to design a space on campus to convey the university as aspace available for both experimental research activities and recreational activities for the local
communities. The objective of this competition is to provide support to participants in realizing
their outstanding proposals while evaluating their effectiveness. The Technical Engineering
category was opened exclusively to technical, engineering proposals in the fields ofmechanical/electrical/information engineering, applied chemistry, or the combination of those, inorder to realize a well-developed open space that meets the social distancing requirements.
This competition was announced on July 14, 2020, and 3 proposals were submitted by thedeadline on September 7, 2020. For the Technical Engineering category, a jury of 7 peoplePublic Competition(Yoshitada Isono, Masatoshi Kitamura, Kimihiro Sakagami, Nobutaka Kuroki, Hirotaka Suzuki,
Akira Takada, Yuichiro Yamabe) examined and evaluated the submitted proposals. The first roundof evaluation was conducted to give 5 levels of grading from 1 to 5, from the viewpoints of design
quality, compatibility with the site, originality, feasibility, and the potential for universality. The
second round of evaluation was conducted in the form of online discussion in which 7 juries givecritique for each proposal. Other than the proposal receiving the First Prize, there were proposals
utilizing the technologies of image synthesis and AR, which some jury members highly
commended for their feasibility; however, the dominant opinion among juries was that those
proposals do not exhibit enough technical novelty. They also pointed out that the need to install
an app on smartphones might present an obstacle for some people, and there is no significancefor such proposals to be applied to this particular site on campus. On the other hand, the First
Prize winner was highly praised by many juries for its technical novelty with the potential of
improving the attractiveness of the site despite concerns raised regarding its safety; it also
received the highest point in the 1st round of evaluation. Unfortunately, it was considered there
was no Honorable Mention prize winner for this competition.
Regarding the installation of benches and poles based on the First Prize proposals, somerequests were made to the winners to ensure the safe usage of the site with consideration to thecases where the site is used during holidays when the site administrator cannot keep an eye on thesafety of visitors. They were requested to ensure safety by thoroughly discussing with the site
administrator regarding the materials and the installation method. The links to the PDF
presentations of the First Prize proposal is shown as follows:
Category B (Technical Engineering)First Prize
Kentaro Emura, Hiroaki Aoki, Kota Kirinoe, Haruka Yagy, Kai Washino, Sotaro Nishihara,
Natsumi Matsui“Social Mile Post: Mile Post for Connecting While Distancing”

Lecture Series

Lecture Series: “Understanding Complex Phenomena ThroughGraphical Representations”
Hirotaka Suzuki1, Keiko Gion2 and Naoto Ohmura3
1

Department of Architecture, Graduate School of Engineering; and Graphics Literacy
Education and Research Center
2
V. School; Department of Civil Engineering, Graduate School of Engineering; andGraphics Literacy Education and Research Center3
Department of Chemical Science and Engineering, Graduate School of Engineering;and Graphics Literacy Education and Research Center
Keywords: Graphical representation, complex phenomena, visualization, Webinar
1. Introduction
The Graphics Literacy Education and Research Center (GLEC) plans to offer Graphics Literacy
ABCD courses starting in academic year 2021/22, and it is necessary for the members of the center toshare a wide range of knowledge and skills about graphics literacy related to various fields.
Considering the fact that the GLEC is an education center, it would also be meaningful to open up its
knowledge and skills to the general public beyond its members for the purpose of dissemination ofknowledge and insights. For this reason, we have decided to organize a series of seminars on analyzing
and explaining complex phenomena using graphical techniques and knowledge. As of February 13,
2021, at the time of this writing, two seminars have been completed and one seminar is scheduled tobe held. All seminars are to be held online via Zoom, and there is no charge for participation.
Information on the dates, times, speakers, and lecture titles for the first three seminars are describedin following flyer pages in Japanese.

Lecture
LectureSeries
SeriesFlyer

グラフィカルな表現法による複雑現象の理解
第 1 回勉強会

科学技術に関するコミュニケーションにおいて、グラフィクスは非常に強力なツールの一つです。グラフィクスは、文字や数字だけでは表現が難しい知識や概念の理解を容易にするものであり、大量のデータを扱うデータサイエンスの分野や、自然科学、人文科学、社会科学を問わず、複雑な現象を理解するために欠くことのできないものとなっています。しかし、グラフィクスの利用法や作成方法は、高等学校までの教育システムでは体系的に指導されておらず、多くの人が直感的な理解で利用しているのが現状であり、しばしば正しくコミュニケーションが取れない場合があります。社会が高度に進化し、複雑化している現代にとってグラフィクスリテラシーは非常に重要なものとなっています。
そこでグラフィクスリテラシー教育研究センターでは、勉強会「グラフィカルな表現法による複雑現象の理解」を立ち上げ、定期的に遠隔セミナーを開催し、社会の中に散在する複雑現象の理解に対するグラフィクスの有効性について議論をしていきます。第 1 回目は東京工業大学の松本秀行先生にご登壇いただき、化学プロセスにおける動的かつ複雑な現象の理解と応用のためのグラフィカルな表現法を用いたシステムズアプローチについてお話していただきます。
1.

日時：12 月 1 日（火）17:00 〜 18:30

2.

講演：「離散事象システムモデルを用いた化学プロセス・ダイナミクスの表現」

3.

講演者：松本秀行先生（東京工業大学物質理工学院応用化学系

4.

参加費：無料5.

Zoom URL: 申込された方に直接お知らせいたします。

准教授）

申込：問い合わせ先に、メール(タイトルは「第 1 回勉強会」として下さい)で、お名前、ご所属、メールアドレスをお送り下さい。
問い合わせ先：eng-glec@research.kobe-u.ac.jp
主催：神戸大学大学院工学研究科グラフィックスリテラシー教育研究センター
共催：（公社）化学工学会 SIS 部会ダイナミックプロセス応用分科会
日本図学会関西支部

Lecture
LectureSeries
SeriesFlyer

グラフィカルな表現法による複雑現象の理解
連続セミナー 第 2 回
科学技術に関するコミュニケーションにおいて、グラフィクスは非常に強力なツールの一つです。グラフィクスは、文字や数字だけでは表現が難しい知識や概念の理解を容易にするものであり、さまざまな分野において複雑な現象を理解するために欠くことのできないものとなっています。グラフィクスリテラシー教育研究センターでは、勉強会「グラフィカ
ルな表現法による複雑現象の理解」を立ち上げ、定期的に遠隔セミナーを開催し、社会の中に散在する複雑現象の理解に対するグラフィクスの有効性について議論をしています。第 2回セミナーではお茶の水女子大学の伊藤貴之先生にご登壇いただき、自然・応用科学、社会・人文科学等幅広い分野における情報可視化による複雑現象表現のアプローチについてお話していただきます。

1. 日時：

2021 年 1 月 25 日（月）18:00 〜 19:30

2. 講演： 「情報可視化による複雑現象の表現」
3. 講演者：伊藤貴之先生（お茶の水女子大学文理融合 AI・データサイエンスセンター
センター長）

4. 参加費：無料
5. Zoom URL: 申込された方に直接お知らせいたします。
申込：問い合わせ先に、メール(タイトルは「第 2 回勉強会」として下さい)で、お名前、ご所属、メールアドレスをお送り下さい。
問い合わせ先：eng-glec@research.kobe-u.ac.jp
主催：神戸大学大学院工学研究科グラフィックスリテラシー教育研究センター
共催：お茶の水女子大学文理融合 AI・データサイエンスセンター
日本図学会関西支部
神戸大学数理・データサイエンスセンター
神戸大学 V.School
協賛 （公社）化学工学会 SIS 部会ダイナミックプロセス応用分科会

Lecture
LectureSeries
SeriesFlyer

グラフィカルな表現法による複雑現象の理解
連続セミナー 第 3 回
科学技術に関するコミュニケーションにおいて、グラフィクスは非常に強力なツールの一つです。グラフィクスは、文字や数字だけでは表現が難しい知識や概念の理解を容易にするものであり、さまざまな分野において複雑な現象を理解するために欠くことのできないものとなっています。グラフィクスリテラシー教育研究センターでは、勉強会「グラフィカ
ルな表現法による複雑現象の理解」を立ち上げ、定期的に遠隔セミナーを開催し、社会の中に散在する複雑現象の理解に対するグラフィクスの有効性について議論をしています。第 3回セミナーでは、i.school エグゼクティブディレクターで(一社)日本社会イノベーションセ
ンター(JSIC)代表理事も務められている堀井秀之先生にご登壇いただき、チームワークの可視化による複雑現象表現のアプローチについてお話していただきます。

1. 日時 ：2021 年 2 月 18 日(木) 18:00 〜 19:30
2. 講演 ：
「i.school のイノベーションワークショップにおけるチームワークの可視化」
3. 講演者：堀井秀之先生 (i.school・エグゼクティブディレクター／(一社)日本社会イノ
ベーションセンター(JSIC)・代表理事／東京大学・名誉教授）
4. 参加費：無料
5. Zoom URL: 申込された方に直接お知らせいたします。
申込：問い合わせ先に、メール(タイトルは「第 3 回勉強会」として下さい)で、お名前、ご所属、メールアドレスをお送り下さい。
問い合わせ先：eng-glec@research.kobe-u.ac.jp
主催：神戸大学大学院工学研究科グラフィックスリテラシー教育研究センター
共催：(一社）日本社会イノベーションセンター(JSIC)
イノベーション教育学会
日本図学会関西支部
神戸大学 V.School
協賛：（公社）化学工学会 SIS 部会ダイナミックプロセス応用分科会

Educational Content

Educational Content to be Provided in Graphics Literacy A:
Technologies for surveying shapes by using drones
Yousuke NAKATA1
1

T&T Co., Ltd., Cooperative Researcher of Graphics Literacy Education and ResearchCenter
Keywords: drone, survey, flight principles, 3D analysis, laws
1. Introduction
In Graphics Literacy A, students will learn basic knowledge of drones, principles andprocedures of drone surveying, examples of drone applications in various fields, trends of drones
in Japan, and future prospects. This article provides a detailed explanation of the course contents.
2. Technologies for surveying shapes by using drones
Graphics Literacy A consists of three sessions about technologies for surveying shapes by using
drones. The schedule and contents are shown in Table 1.
Table 1. Schedule and contents of three sessions about technologies for surveying shapes by using
dronesTheme
1st session

Basic knowledge ofdrones

2nd session

Principles andmethodologies ofdrone surveying

3rd session

Contents
 What are drones Drone structure and flight principles
 Various laws and regulations related to drones
 3D analysis and its principles
 Differences from conventional methods
 Photogrammetry and laser surveying
 Analysis examples

Applications in various  Introduction of application fields related tomeasuring with drones
fields and future trends  Latest legal amendments and future prospects

The first session provides basic knowledge of drones: the origin of the name “drone,” drone
structure and flight principles (see Fig. 1), and laws and regulations related to drones. Using DJI
Phantom 4 Pro (see Fig. 2), which has a high market share, for demonstration, students willobserve how the propellers rotate.

Educational Content

Fig. 1. Correspondence between propeller rotation and flight conditions

Fig. 2. DJI Phantom 4 Pro
The second session is about 3D analysis, which is the most important technology in drone
surveying. Its principles and methodologies are learned through performing analysis using
Agsoft’s MetaShape analytical software (see Fig. 3).

Fig. 3. Example of 3D analysis using data obtained by drones

Educational Content

In the third session, application examples in different fields will be introduced, focusing on
measuring with drones used for purposes other than surveying. Examples include measurementof deterioration during structural inspections (see Fig. 4). Examples using special cameras (seeFig. 5) and drones for industrial uses will also be introduced.

Fig. 4. Example of condominium wall crack inspection

Fig. 5. Application using infrared camera images
At the end of the third session, the changes in the circumstances around drones and the future
outlook will be discussed, using the 2020 Roadmap for Aerial Industrial Revolution (see Fig. 6)
developed by a public-private council for improving the environment for small unmanned aerial
vehicles.

Educational Content

Fig. 6. 2020 Roadmap for Aerial Industrial Revolution(Source: https://www.kantei.go.jp/jp/singi/kogatamujinki/pdf/siryou14.pdf )Educational Content

Educational Content to be Provided in Graphics Literacy A:
Technologies for surveying shapes and making shapes
Tatsushi TANAKA1
1

Niteco Co., Ltd., Cooperative Researcher of Graphics Literacy Education and ResearchCenter
Keywords: 3D scanners, photogrammetry, 3D printers, additive manufacturing
1. Introduction
With 3D scanners and 3D printers, methods employed in the manufacturing industry havebecome more diverse. The utilization of these new devices has enabled products with more
flexible designs, which would have been impossible with conventional manufacturing methods.
Focusing mainly on industrial products, this course will provide an overview of recent
technologies for surveying and fabrication. The schedule and contents are shown in Table 1.
Table 1. Schedule and contents of three sessions about technologies for surveying and fabrication
Theme
1st session

Technologies forsurveying shapes

2nd session
3rd session

Contents
 3D scanners
 Photogrammetry

Technologies for 3D printers

fabrication

 Materials

Examples of shape-  Reverse engineering
related technology uses  Structure recognition
 Generative design

2. Course Description
2. 1 Technologies for surveying shapes
Conventionally, direct contact to 3D objects with a measuring tool or instrument has beenrequired to obtain information about their shapes and dimensions. In contrast, non-contact 3D
scanners and photogrammetry enable contactless measurements of objects. The non-contact 3D
scanners can be roughly categorized into two groups: laser triangulation and structured light.
Their operating conditions are different, but the scanning operation is mostly similar. Fig. 1 showsa 3D scanned example using an infrared camera.
Photogrammetry is often used for relatively large objects. 3D data can be obtained by using

Educational Content

photo data and a software application without any physical devices.

Fig.1. Original item (left), scanned mesh data (center) and shaded view by 3D CAD (right)
2. 2 Technologies for making shapes
The process of layering materials into a shape is called Additive Manufacturing, and its
representative example is 3D printing. Various types of 3D printers, including Fused Deposition
Modeling (FDM), are available. The device and materials are selected according to the purposeand design of the final object.

Fig. 2. FDM 3D printing
Preparation of proper 3D data is required for 3D printing. Data obtained by 3D scanning is
insufficient for 3D printing (although with slight adjustments, such data can be used for virtual
spaces or for dimension checking purposes), and therefore proper modifications are necessary
using 3D CAD. Fig. 3 shows an example of a model printed by FDM.

Educational Content

Fig. 3. Model printed by FDM
2. 3 Examples
3D scanning is sometimes used during new product development to capture design informationfrom commercial products, previous products, etc. In some cases, the shapes of manually
produced clay models (design modeling using clay) are scanned for use in a specific design, andthese methods are called reverse engineering.
For repairing or remodeling an old structure with no available design drawings, a construction
plan is made by capturing its shape using 3D scanners and photogrammetry in advance. Fig. 4
shows the 3D shape of a building captured by photogrammetry and reproduced by CG.

Fig. 4. Photogrammetry working screen

Educational Content

In cutting processes, limited designs of parts can be processed due to the limited operating
range of the tools, whereas 3D printing utilizing additive manufacturing can materialize arbitrary
designs. X-ray CT can visualize not only the external shape but also provide three-dimensional
images of the inside of the human body by using software and therefore finds application in the
medical field.
3. Conclusion
3D scanners have been integrated into drones, and their uses are expanding in the construction
and civil engineering fields. 3D printing used to be mainly used for prototyping, but as the usable
materials have increased, including metals and heat-resistant materials, it is expected to be useddirectly for final product manufacturing and mass production using resin molds.
It broadens the range of industrial design by enabling the materialization of organic designs, as
shown in Fig. 5.

Fig. 5. Organic design using 3D CAD
In addition, generative design (a method in which a computer suggests design options for parts)
cannot be applied to designs that involve cutting, but it may be an effective design method in the
future for designs that would be 3D printed.

Educational Content

Educational Content to be Provided in Graphics Literacy D:
Techniques for Drawing Figures and Diagrams in Computer Graphics (CG)
Hirotaka Suzuki1
1

Department of Architecture, Graduate School of Engineering; and Graphics Literacy
Education and Research Center
Keywords: Computer graphics, POV-Ray, Ray tracing, Visualization, Animation

1. Introduction
In Graphics Literacy D, students learn how to draw figures and diagrams using computer
graphics (CG) by actually operating a PC. They also learn how to visualize and create animations,which will be useful for later research activities and presentations. In this paper, we will illustrate
the content of this course.
2. Graphics Literacy D Course Contents
Table 1 shows the week-by-week contents provided in Graphics Literacy D.
Table 1. Schedule and contents of Graphics Literacy D
Week
1st session
2nd session
3rd session
4th session

5th session

6th session

7th session

Contents
Introduction
andInstallation
How to render anddescribe objects
Object manipulation
and repetition
Conditional branchingand set operations,texture,andlight
handling
Use of groups, random
numbers, stereoscopic
view, etc.
Representationofgeometrically definedsurfaces
Animation

Exercises After installation, render a scene file and checkits operation
 Simple scene file manipulation and scarecrow
assembly Creating a spiral staircase by rotating, scaling,translating, and repeating basic objects
 Repeated placement of spheres and coloring,creation of a teapot-like shape, creation of across-sectional view, repetition and set
operations, use of texture Creating scenes that use groups, creating scenesthat don't drop shadows on the guide map,
creating scenes with random snowfall Plane curves, space curves, and surfaces
 Moving basic objects, rotating basic objects,
animating any scene file

Educational Content

POV-Ray, a free ray tracing software, was used as the CG tool because it is a free, multiplatform that supports UNIX and MS-DOS as well as Windows and Mac, and can correctly
express the texture of materials (ray tracing is used in the rendering algorithm, so it can handle
the positive reflection of mirrors and the positive transmission of glass). As shown in Fig. 1, POVRay is a script description type of modeler, not a so-called WYSIWYG (What You See Is What
You Get) type, nor a GUI type that allows intuitive manipulation of figures using a mouse.

Fig. 1. Example of data description in POV-Ray.
As for the use of modelers in general design activities, the WYSIWYG and GUI types are often
considered to be more suitable. But in cases such as the visualization of numerical calculation
results, the script description type is more suitable, and this is the fourth reason why POV-Ray isused.
In the 2019/20 academic year, we conducted a two-session training in computer graphics on a
trial basis under the subject of Graphic Science Exercise 1 (offered in the third quarter (Q3) termat the Department of Architecture and Civil Engineering), and examined whether it was possible
to use POV-Ray on the required computers (Windows or Mac). During the training, it became
clear that it did not work on Mac depending on the version. Therefore, in the 2020/21 academic
year, after gathering more extensive information about POV-Ray running on Mac, we areproviding the contents of Table 1 in advance in Graphic Science Exercise 2 (offered in the fourth
quarter (Q4) term at the Department of Architecture and Civil Engineering). Under the COVID19 crisis, we started with online classes to explain the operation of POV-Ray on a PC, but wemanaged to finish the Graphic Science Exercise 2 without encountering any problems. In theEducational Content

future, we will decide on the content of Graphics Literacy D after making some selections, andthis paper will report on the course contents of Graphics Literacy 2 in the 2020/21 academic year.
As shown in Table 1, Week 1 is introduction and installation, and the subsequent Weeks 2through 5 are not much different from the content of computer graphics training in the so-called
information processing field. However, as shown in Fig. 1, the data description is text-based anddifficult to understand intuitively. Therefore, as shown in Fig. 2, we handed out sample data
(called scene files in POV-Ray) to students in advance so that they could learn the description
method by modifying the data.

Fig. 2. Rendering of the distributed state (left) and the completed scarecrow.
In explaining repetition in Week 3, a spiral staircase is used to illustrate the correspondence
between the parameters of repetition and the start position, end position, and tread spacing. As
shown in Fig. 3, we demonstrated that the treads can be made continuous to form a slope bymaking the number of steps far less. We then associated this with the geometrically defined curve,
which was scheduled to be explained in Week 6.

Fig. 3 A spiral staircase rendered as a slope with a smaller number of steps.

Educational Content

In addition, in Week 4, the students were tasked with creating a cross-sectional view with set
operations by expanding from a scene file that creates a shape like a teapot using set operations(see Fig. 4). This task is designed to help them acquire the ability to describe shapes in various
ways.

Fig. 4. Example of a cross-sectional view of a teapot-like shape.
Moreover, in the fourth week of this course, the students were asked to apply the teapot-shaped
scene file to create a shade using a shape with repetitive holes (see Fig. 5), and explain how tohandle texture and light (see Fig. 6). For their first assignment, we assigned them to create alighting fixture in the form of a scene file using set operations, which was due the week after.

Fig. 5. Example of shading using a form with repetitive holes.

Educational Content

Fig. 6. Example of mapping various textures to illustrate surface reflections.
In Week 5, we explained the use of groups, random numbers, stereoscopic view, and others. In
general, photorealism tends to be preferred in computer graphics. For example, in the case of adiagram like in Fig. 7, which shows the center coordinates of a sphere object, the auxiliary lines,
coordinate axes, and grid in this diagram are entities that have a different meaning from the sphere,
and we must avoid making diagrams where these cast a shadow on the sphere.

Fig. 7. Diagram showing center coordinates of a sphere object.
In addition, compared to parallel projections, which are suitable for conveying quantitative
information such as length, angle, and shape, perspective projections are suitable for conveying
qualitative information such as formal elements of objects that affect the objects’ impression. In

Educational Content

the case of conveying information such as that shown in Fig. 7, parallel projections are more
appropriate, and perspective projections should be avoided. Some of the "other" contents to becovered in this week include important contents related to literacy in drawing, such as how to set
up a scene without dropping shadows and how to make it a parallel projection. In addition, in the
explanation of using a scene file to generate snow with random numbers, the students were given
an assignment to develop it further and generate a random number limited within a certain range,
as shown in Fig. 8, which is related to the contents from Week 6.

Fig. 8 Example of many snowflakes in a sphere.
In terms of content, Week 6 is the most characteristic of this course, dealing with plane curves(see Fig. 9), space curves (see Fig. 10), and surfaces (see Fig. 11) defined by mathematicalexpressions.

Fig. 9. Example of a plane curve (a curve made with a trigonometric function changing the radiusof a circle, and a cubic curve).

Educational Content

Fig. 10. Example of a space curve (an adjoining cycloid developed in a hemisphere).

Fig. 11 Example of a surface (Mathematical surface given by z = x^2 - z^3).
In these cases, the mathematical formulae that define the curves and surfaces are often givenin the form of functions such as y = f (x) or z = f (x, y) in the distributed scene files, and students
can draw different curves and surfaces by simply changing the contents of the functional equations.
After changing the contents of the functional equations and confirming the shape, they can beapplied to change the fineness of the curve drawing and also change the color as shown in Fig.
10. In fact, POV-Ray has its own file I/O function and can refer to external files by writing I/Orelated descriptions in the scene file. For this reason, it is possible to refer to external files fornumerical calculation results and visualize them accordingly. However, due to the time constraint,
we have not explained that much.
Week 7 centers on the theme of animation. In POV-Ray, a variable called clock, which takes acontinuous value from 0 to 1, is used to render a changing still image. The range of the change inclock depends on the amount of still images to be generated, and if n is a positive integer, then

Educational Content

clock will change from 0 to 1 in 1/(n-1) steps. In many computer graphics tools, the position anddirection of the camera can be changed using keyframes, etc. However, in POV-Ray, all changes
are expressed by relating them to the clock. The scene files handed out to the students are only
related to the movement of the basic object and the rotation of the basic object (see Fig. 12), but
by connecting the clock to the brightness of the light source, and to the camera position, it ispossible to create animations that gradually become darker or move the camera further away fromobjects.

Fig. 12. Example of rendering a scene file that rotates a basic object and outputs 9 still images.
We then asked the students to select a scene file that they have created so far, and explained
how to rotate all or some of the objects in the file (using set sum) and how to change the brightness
and darkness by changing the position of the light source. In illustrating these techniques, we used
the shape shown in Fig. 5 to rotate the shape of the shade on the stand and move the positions of
the two light sources, yellow and blue, up and down separately, so that the light that passed
through the holes create bright ellipse-like areas on the horizontal plane. This allowed the ellipselike illuminated areas to move away and closer to the center as they rotated, while changing theircolor by the mixing of yellow- and blue-colored lights in varying proportions (see Fig. 13).

Fig. 13 Example of animation.

Educational Content

Due to the time and platform constraints, we only explained how to create the changing still
images in the class, and checked how these images move, frame by frame, by switching themwith the arrow keys. For the final conversion to a single video file (avi file, wmv file, etc.), we
decided to refer to the book we adopted as a textbook1).
Before the end of the class in Week 7, we assigned the students to create a "scene with a uniqueshape" as their final task. In order to make the students as enthusiastic as possible, we decided
that the theme should be "something that each of us is attached to" or "something useful.
3. Conclusion
This report introduced the contents of Graphics Literacy D by illustrating the contents ofGraphic Science Exercise 2, the contents of which were changed this year. There are two
assignments to be submitted: modelling a lighting fixture and a final project. Since the grading
period is still in progress at the time of writing, we have not yet been able to confirm the kinds ofworks that have been submitted. However, we hope to improve the quality of submissions year
by year by posting them online, with personal information removed.
References
1) Hirotaka Suzuki, Kazuo Kurata and Hisashi Sato, “3D-Computer Graphics Creation with POVRay,” (CG-ARTS) (2008).