745 research outputs found
How sketches work: a cognitive theory for improved system design
Evidence is presented that in the early stages of design or composition the
mental processes used by artists for visual invention require a different type of
support from those used for visualising a nearly complete object. Most research
into machine visualisation has as its goal the production of realistic images which
simulate the light pattern presented to the retina by real objects. In contrast sketch
attributes preserve the results of cognitive processing which can be used
interactively to amplify visual thought. The traditional attributes of sketches
include many types of indeterminacy which may reflect the artist's need to be
"vague".
Drawing on contemporary theories of visual cognition and neuroscience this
study discusses in detail the evidence for the following functions which are better
served by rough sketches than by the very realistic imagery favoured in machine
visualising systems.
1. Sketches are intermediate representational types which facilitate the
mental translation between descriptive and depictive modes of representing visual
thought.
2. Sketch attributes exploit automatic processes of perceptual retrieval and
object recognition to improve the availability of tacit knowledge for visual
invention.
3. Sketches are percept-image hybrids. The incomplete physical attributes
of sketches elicit and stabilise a stream of super-imposed mental images which
amplify inventive thought.
4. By segregating and isolating meaningful components of visual
experience, sketches may assist the user to attend selectively to a limited part of a
visual task, freeing otherwise over-loaded cognitive resources for visual thought.
5. Sequences of sketches and sketching acts support the short term episodic
memory for cognitive actions. This assists creativity, providing voluntary control
over highly practised mental processes which can otherwise become stereotyped.
An attempt is made to unite the five hypothetical functions. Drawing on the
Baddeley and Hitch model of working memory, it is speculated that the five
functions may be related to a limited capacity monitoring mechanism which makes
tacit visual knowledge explicitly available for conscious control and manipulation.
It is suggested that the resources available to the human brain for imagining nonexistent
objects are a cultural adaptation of visual mechanisms which evolved in
early hominids for responding to confusing or incomplete stimuli from immediately
present objects and events. Sketches are cultural inventions which artificially
mimic aspects of such stimuli in order to capture these shared resources for the
different purpose of imagining objects which do not yet exist.
Finally the implications of the theory for the design of improved machine
systems is discussed. The untidy attributes of traditional sketches are revealed to
include cultural inventions which serve subtle cognitive functions. However
traditional media have many short-comings which it should be possible to correct
with new technology. Existing machine systems for sketching tend to imitate nonselectively
the media bound properties of sketches without regard to the functions
they serve. This may prove to be a mistake. It is concluded that new system
designs are needed in which meaningfully structured data and specialised imagery
amplify without interference or replacement the impressive but limited creative
resources of the visual brain
Online region computations for Euler Diagrams with relaxed drawing conventions
AbstractEuler diagrams are an accessible and effective visualisation of data involving simple set-theoretic relationships. Efficient algorithms to quickly compute the abstract regions of an Euler diagram upon curve addition and removal have previously been developed (the single marked point approach, SMPA), but a strict set of drawing conventions (called well-formedness conditions) were enforced, meaning that some abstract diagrams are not representable as concrete diagrams. We present a new methodology (the multiple marked point approach, MMPA) enabling online region computation for Euler diagrams under the relaxation of the drawing convention that zones must be connected regions. Furthermore, we indicate how to extend the methods to deal with the relaxation of any of the drawing conventions, with the use of concurrent line segments case being of particular importance. We provide complexity analysis and compare the MMPA with the SMPA. We show that these methods are theoretically no worse than other comparators, whilst our methods apply to any case, and are likely to be faster in practise due to their online nature. The machinery developed for the concurrency case could be of use in Euler diagram drawing techniques (in the context of the Euler Graph), and in computer graphics (e.g. the development of an advanced variation of a winged edge data structure that deals with concurrency). The algorithms are presented for generic curves; specialisations such as utilising fixed geometric shapes for curves may occur in applications which can enhance capabilities for fast computations of the algorithms' input structures. We provide an implementation of these algorithms, utilising ellipses, and provide time-based experimental data for benchmarking purposes
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Firstly, examining the history of manual drawings, this research provides a comprehensive understanding of the characteristics and functions of landscape representation and historical changes regarding specific techniques. Landscape architectural drawing has double functions, namely, illustration of not-yet-actualized landscapes (i.e. instrumentality) and generation of creative ideas (i.e. imagination), which are relative, interchangeable, and transformable. These characteristics have been embodied in the forms of particular types of drawing, projections, perspective views, and diagrams, whose characteristics are not so much clearly distinguishable as rather mutually complementary and hybridized in such a way that pictorial views of plants frequently are hybridized to projection drawings. Of course, particular drawing types or techniques have often emerged as suitable and thereby dominant forms, depending on particular historical styles of landscape design. Sixteenth-century Italian Renaissance gardens and seventeenth-century French formal gardens were generally visualized in the form of projections. Eighteenth-century and early nineteenth-century English landscape gardens were frequently represented in pictorial perspective view. In nineteenth-century America, the professional identity of landscape architecture started to be established and different drawing types were specialized depending on their respective functions. Furthermore, the map overlay method for site analysis emerged. Twentieth-century American modernists began to explore the diagram to deploy design strategies. However, such drawing types and methods have coexisted after their emergenceinstrumentality and imagination have been frequently hybridized for the visualization of future landscapes.
Secondly, this work discusses the early history of the initial uses of major computer software to shed light on the major roles of such technologies in landscape visualization in the period of transition from conventional drawing tools. Computer technologies generally functioned as mechanical tools to imitate previous manual techniques and translate physical media into computer files. In the 1970s to 1980s, the medium of the map overlay analysis of Ian McHarg, namely, layer cake, changed from manual to computerized. In the transition of technologies, the computerized Geographic Information System served as a mechanical tool substituting the hand in that the GIS efficiently used methods similar to manual procedures, including inventory, evaluation, and visualization. Since the 1980s, Kathryn Gustafson and George Hargreaves have used physical modelling, such as sand and clay models, for landform study. In realizing such models on site, the CAD software generally functioned to translate three-dimensional (3D) models to two-dimensional (2D) construction documents, i.e. projection drawings. In the next two decades, landscape architects, including Yves Brunier, Adriaan Gueze, and James Corner, deployed the collage and montage using mixed media and photographic materials. Since the late-1990s, manual techniques have been increasingly produced using graphic editing software, such as Adobe Photoshop, which generally functioned as a tool to perform processes similar to those of manual techniques. In Lifescape, the winning proposal in the Fresh Kills Park competition in 2001, as an exception, Corner fully exploited the potential of graphic software to explore creative visualization techniques, including plan collage, which was used to develop the design idea in the design process.
Thirdly, this research offers a critique of the dominant trend towards realism in recent digital landscape representations. Since 2000, in landscape design, presentation drawings adopting a realistic depiction have gained increasing importance in communication with the public. Landscape architects, historically, have frequently used pictorial depictions of the appearance of landscapes as a dominant representational techniqueadvanced graphic editing software, including Photoshop, make it possible to achieve this desire for realism effectively. This trend is epitomized by perspective views using the composite photographic technique. In representations, discernible traces of cutting and assembling are removed, and visual effects are applied to create illusions via various commands and filters in the software. Thus, the complete representations are perceived as if they were a copy of an actual landscape. To refer to such representations, this dissertation coined the term photo-fake, whose several conditions (invisible frame and viewers position, illusions, landscape as theatre and human figures as spectators, and digital aura) were analysed by scrutinizing the visuals of recent international design competitions. These techniques often imitate previous manual methods, which historically date back to at least the eighteenth-century picturesque aesthetics and seventeenth-century historical landscape paintings.
Whereas the photo-fake image can easily capture the publics eye, it is difficult for the static visuals to achieve full embodiment of all of the multisensory characteristics of a landscape. Thus, photo-fake techniques need to be exploited to deploy a designers specific vision of the not-yet-actualized designed landscape. Furthermore, digital modelling of landscape performance and various hybridized techniques with different drawing types and technologies provide the opportunity to explore various aspects of landscape and stimulate design ideas during the design process. If a designers vision of a future landscape cannot be immediately realized on the actual site, then such visions inevitably need to be visualized in other forms. Thus, visualization techniques, both to generate creative idea and exploit the potential of digital technology, need to continue to be simultaneously explored in landscape theory and practice.I. Introduction 1
1.1. Research Purpose 1
1.2. Research Objectives and Theoretical Perspective 5
1.3. Literature Review 6
1.4. Structure 11
II. Rethinking the History of Manual Drawing 14
2.1. Hybridization of Instrumentality and Imagination 14
2.1.1. Instrumentality and Imagination 14
2.1.2. Hybridization 24
2.2. Manual Drawings in History 37
2.2.1. Projection: The Italian Renaissance and French Formal Gardens 37
2.2.2. Pictorial Representation: The English Landscape Gardens 44
2.2.3. Diverse Specialization of Drawing: The 19th-century America and Frederick Law Olmsted 51
2.2.4. Emergence of Diagram: Modernism in America 57
III. Technological Transition 63
3.1. Hand and Computer Drawings 63
3.2. Transition from Hand to Computer 72
3.2.1. Scientific Visualization of Landscape Information: Map Overlay Method 72
3.2.2. Landform Simulation: Model Making 88
3.2.3. Exploration of Perspective View: Collage and Montage 100
IV. Digital Landscape Representations Photo-fake 124
4.1. Pictorial in Digital Landscape Representation 124
4.2. Photo-fake 134
4.2.1. Defining Photo-fake 134
4.2.2. Photo-fake Conditions 143
4.2.3. Opportunities and Limitations of the Photo-fake 156
4.2.4. Korean Landscape Architecture 160
4.3. Beyond the Depiction of Appearance 164
4.3.1. Modelling Landscape Performance 164
4.3.2. Hybridization Strategies 172
V. Conclusion 177
Bibliography 180
List of Illustrations 192
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