University of Windsor Graduate Calendar 2017 Winter

https://scholar.uwindsor.ca/universitywindsorgraduatecalendars/1074/thumbnail.jp

Visual design and variation of mediums in e-learning resources

Master's thesis Multimedia and Educational Technology MM500 - University of Agder 2017Konfidensiell til / confidential until 01-07-202

Creating architecture for a digital information system leveraging virtual environments

Abstract. The topic of the thesis was the creation of a proof of concept digital information system, which utilizes virtual environments. The focus was finding a working design, which can then be expanded upon. The research was conducted using design science research, by creating the information system as the artifact. The research was conducted for Nokia Networks in Oulu, Finland; in this document referred to as “the target organization”. An information system is a collection of distributed computing components, which come together to create value for an organization. Information system architecture is generally derived from enterprise architecture, and consists of a data-, technical- and application architectures. Data architecture outlines the data that the system uses, and the policies related to its usage, manipulation and storage. Technical architecture relates to various technological areas, such as networking and protocols, as well as any environmental factors. The application architecture consists of deconstructing the applications that are used in the operations of the information system. Virtual reality is an experience, where the concepts of presence, autonomy and interaction come together to create an immersive alternative to a regular display-based computer environment. The most typical form of virtual reality consists of a headmounted device, controllers and movement-tracking base stations. The user’s head- and body movement can be tracked, which changes their position in the virtual environment. The proof-of-concept information system architecture used a multi-server -based solution, where one central physical server hosted multiple virtual servers. The system consisted of a website, which was the knowledge-center and where a client software could be downloaded. The client software was the authorization portal, which determined the virtual environments that were available to the user. The virtual reality application included functionalities, which enable co-operative, virtualized use of various Nokia products, in immersive environments. The system was tested in working situations, such as during exhibitions with customers. The proof-of-concept system fulfilled many of the functional requirements set for it, allowing for co-operation in the virtual reality. Additionally, a rudimentary model for access control was available in the designed system. The shortcomings of the system were related to areas such as security and scaling, which can be further developed by introducing a cloud-hosted environment to the architecture

Desarrollo y construcción de recicladora de ácido poliláctico (PLA) destinada a la impresión 3

The project given to Team D of the 2018 Fall EPS group was to develop a machine that would recycle old 3D printed parts, support structures, and failed prints into new filament to use in a 3D printer. The main reason why this project was carried out was that the company Kaplock B.V. produces an excess of PLA waste. To solve this issue, the team created a recycler that reduces the waste produced by the company. This was an important solution because it would allow Kaplock B.V. to save money and create a circular lifecycle for the PLA. The machine that Team D created receives PLA in the form of old prints, failed prints, or support structures. The recycler then crushes the parts into smaller pieces, so the PLA can be melted into liquid. This liquid plastic is then pushed through a nozzle to ensure a correct diameter that meets industry standards. The final step in the process is to coil the filament onto a spool so it can be reused in a 3D printer.El proyecto llevado a cabo durante el pasado otoño por el Grupo D del EPS Programme consiste en el desarrollo de una máquina capaz de reciclar impresiones 3D erróneas. La principal razón por la que este proyecto se ha llevado a cabo es el excesivo consumo que la compañía Kaplock tiene de PLA. Esta recicladora es una gran alternativa puesto que la compañía podría ahorrar dinero y crear un ciclo de vida circular para el PLA. El dispositivo recibe los elementos plásticos que se quiere reciclar, los tritura en pequeñas piezas, lo funde a estado líquido y este líquido se extruye a través de una boquilla creando un nuevo filamento. Por último, el PLA se vuelve a enrollar en una bobina que puede ser utilizada de nuevo.Departamento de Química AnalíticaGrado en Ingeniería Mecánic

Freehand Digital Drawing: a Boost to Creative Design. The Observer's Eye and the Draftsman Brain

[ES] La representación de un proyecto arquitectónico tiene diferentes finalidades, una de las más relevantes es su visualización. El tema de esta tesis es la relación entre el diseñador, su actividad cerebral durante la fase creativa, el proyecto representado y la mente del observador. La pregunta, planteada por arquitectos, diseñadores y académicos en los años ochenta y aún abierta a soluciones estimulantes, es una pregunta bien conocida sobre si la creciente digitalización puede ser perjudicial o beneficiosa para esta relación. Después de un análisis de la imagen en la arquitectura a partir del Renacimiento, informado en la Parte 1, se revisan y discuten las técnicas actuales de representación. La primera pregunta, abordada en la Parte 2, fue si la simulación de la realidad con renderizado de calidad fotográfica garantiza una visualización mejor o peor que una imagen tradicionalmente dibujada a mano. Se elaboró un cuestionario para verificar las características de comunicación y representación de las imágenes producidas con las dos técnicas. Los resultados mostraron que estas dos cualidades estaban más presentes en el caso del dibujo a mano alzada que en los renders fotorrealistas. La Parte 3 se centró en el diseñador y utilizó las herramientas proporcionadas por la neurociencia, a saber, el EEG y las 'respuestas evocadas', para cuantificar la actividad cerebral de alguien que hace un dibujo a mano alzada con respecto a CAD. Dado que la tecnología utilizada nunca antes se había aplicado a un sujeto al realizar un diseño, la investigación se dividió en tres experimentos separados. El primero se dedicó a encontrar una forma confiable de realizar registros durante el movimiento del miembro superior en la ejecución del dibujo; los experimentos segundo y tercero tenían como objetivo el análisis específico de la actividad cerebral que precede y sigue a los movimientos individuales de los signos trazados. Los resultados mostraron que la actividad motora relacionada con el dibujo a mano alzada estuvo acompañada por un aumento en la amplitud de las respuestas electroencefalográficas en comparación con el dibujo con CAD. Este dato es probablemente un importante paso adelante a favor de la hipótesis de que la creatividad también puede mejorarse mediante el movimiento en el dibujo a mano alzada. La conclusión es que las imágenes así dibujadas crean una mejor correspondencia entre el autor y el observador, y que el movimiento y la percepción sensorial de la mano pueden fomentar la creatividad. Recientemente, los avances en la técnica de las tabletas de dibujo han proporcionado una nueva técnica para el dibujo a mano alzada, donde se combina la capacidad de gestión de datos del ordenador con los gestos naturales tradicionalmente ligados al uso del papel y el lápiz. de la tecnología moderna puede fusionar el factor humano junto con las nuevas tecnologías digitales.[CA] La representació d'un projecte arquitectònic té diferents finalitats, una de les més rellevants és la seva visualització. El tema d'aquesta tesi és la relació entre el dissenyador, la seva activitat cerebral durant la fase creativa, el projecte representat i la ment de l'observador. La pregunta, plantejada per arquitectes, dissenyadors i estudiosos als anys vuitanta i encara oberta a solucions estimulants, és una qüestió ben coneguda si augmentar la digitalització pot ser perjudicial o beneficiós per a aquesta relació. Després d'una anàlisi de la imatge en arquitectura a partir del període renaixentista, informada a la part 1, es revisen i discuteixen les tècniques de representació actuals. La primera pregunta, abordada a la part 2, va ser si la simulació de la realitat amb renderització de qualitat fotogràfica garanteix una visualització millor o pitjor que una imatge tradicionalment dibuixada a mà. Es va elaborar un qüestionari per comprovar les característiques de comunicació i representació de les imatges produïdes amb les dues tècniques. Els resultats van mostrar que aquestes dues qualitats estaven més presents en el cas del dibuix a mà alçada que en els renders fotorealistes. La part 3 es va centrar en el dissenyador i va utilitzar les eines proporcionades per la neurociència, és a dir, l'EEG i les 'respostes evocades', per quantificar l'activitat cerebral d'algú que realitza un dibuix a mà alçada respecte al CAD. Com que la tecnologia utilitzada mai abans s'havia aplicat a un tema mentre es feia un disseny, la investigació es va dividir en tres experiments separats. El primer es va dedicar a trobar una manera fiable de fer enregistraments durant el moviment de l'extremitat superior en l'execució del dibuix; el segon i el tercer experiment estaven dirigits a l'anàlisi específica de l'activitat cerebral que precedeix i segueix els moviments individuals dels signes traçats. Els resultats van mostrar que l'activitat motora relacionada amb el dibuix a mà alçada va anar acompanyada d'un augment de l'amplitud de les respostes electroencefalogràfiques en comparació amb el dibuix amb CAD. Aquesta dada és probablement un pas endavant significatiu a favor de la hipòtesi que la creativitat també es pot millorar amb el moviment en el dibuix a mà alçada. La conclusió és que les imatges dibuixades d'aquesta manera creen una millor correspondència entre autor i observador, i que el moviment i la percepció sensorial de la mà poden fomentar la creativitat. Recentment, els avenços en la tècnica de dibuix a tauletes han aportat una nova tècnica de dibuix a mà alçada, on la capacitat de gestió de dades de l'ordinador es combina amb els gestos naturals tradicionalment vinculats a l'ús del paper i el llapis. de la tecnologia moderna pot fusionar el factor humà amb les noves tecnologies digitals.[EN] The representation of an architectural project aims at several intents, one of the most relevant being the visualisation of a design. The subject of this dissertation is therefore the relationship between the draftsman, the creativity of his brain, the represented design, and the mind of the observer. Since the Eighties, architects, designers and scholars wondered whether the current habit of an ever increasing digitalisation could be detrimental or advantageous to such relationship. After an analysis of architectural imaging since the Renaissance, as reported in Part 1, the current techniques are reviewed and discussed. The first question, addressed in Part 2, has been whether the simulation of reality with renders of photographic quality, would relate to the observer better or worse than a traditionally hand drawn image. A questionnaire has been constructed to probe the communication and representation qualities of the images. The results suggested that these two qualities were best represented in the case of freehand drawing compared to photorealistic renders. Part 3 was focused on the designer and used the instruments provided by neuroscience, i.e. the EEG and 'evoked responses', to quantify the brain activity in connection with freehand and CAD drawing. Because the involved technology had never been applied before to a drawing subject, the investigation had to be divided into three separate experiments. The first one was dedicated to finding a reliable way to perform the recordings in subjects who freely moved their arm and hand while drawing. The second and third experiments were aimed at analysing the cerebral activity occurring before and after each drawing movement. All results demonstrated that a larger cerebral activity preceded and followed each movement in freehand drawing compared to CAD design. This finding may be considered a robust step towards the notion that also creativity may consequently be improved. The final conclusion is that the freehand drawn images make a better link between author and observer, and at the same time the very movement and haptic perception of the hand elicit creativity. Indeed, the most recent advances in technology of drawing tablets have provided a new medium for freehand drawing, which can exploit the capacity of data handling of computers with the natural movement of using pencil and paper, ending up in a traditional hand made product. A wise usage of modern technology can therefore merge the human factor with the digital world.Leandri, G. (2022). Freehand Digital Drawing: a Boost to Creative Design. The Observer's Eye and the Draftsman Brain [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/188091TESI

FREEHAND DIGITAL DRAWING: A BOOST TO CREATIVE DESIGN. THE OBSERVER’S EYE AND THE DRAFTSMAN’S BRAIN

Representation of an architectural project aims at several intents; one of the most relevant being the visualization of a design. The subject of this dissertation is therefore the relationship between the draftsman, the creativity of his brain, the represented design, and the mind of the observer, while raising the question whether the current habit of an ever increasing digitalisation may be detrimental or advantageous to such relationship. After an analysis of architectural representation in history since Renaissance times, as reported in Part 1, the current techniques are reviewed and discussed. The first question, addressed in Part 2, has been whether the simulation of reality with renders of photographic quality, a product of automated computerisation, would relate to the observer better or worse than a traditionally hand drawn image. A questionnaire has been constructed to probe the communication and representation qualities of the images. The results suggested that these two qualities were best represented in the case of freehand drawing compared to photorealistic renders. The Part 3 was focused on the designer and used the instruments provided by neuroscience, i.e. the EEG and evoked responses, to quantify the brain activity in connection with freehand and CAD drawing. Because the involved technology had never been applied before to a drawing subject, the investigation had to be divided into three separate experiments. The first was dedicated to find a reliable way to perform the recordings in a subject who freely moved arm and hand while drawing for a few minutes; the second and third experiment were aimed at the analysis of cerebral activity occurring before and after the drawing movement. All results demonstrated that a definitely larger cerebral activity preceded and followed each movement in freehand drawing compared to CAD design. This finding may be considered a robust step towards the notion that also creativity is consequently improved. The final conclusion is that the freehand drawn images make a better link between author and observer, and at the same time the very movement and haptic perception of the hand elicit creativity. Nevertheless, the most recent advances in digitalising analogic dimensions through drawing tablets, have provided a new medium for freehand drawing, which can exploit the capacity of data handling of computers, time and effort saving, with the natural movement of using pencil and paper, ending up in an identical product. A wise usage of modern technology can therefore merge together the human factor of hand and brain reciprocal thrust with the fictitious world of the bits

The machine refinement of raw graphic data for translation into a low level data base for computer aided architectural design (CAAD).

It is argued that a significant feature which acts as a disincentive against the adoption of CAAD systems by small private architectural practices, is the awkwardness of communicating with computers when compared with traditional drawing board techniques. This consideration, although not perhaps the dominant feature, may be mitigated by the development of systems in which the onus of communicating is placed on the machine, through the medium of an architect's sketch plan drawing. In reaching this conclusion, a design morphology is suggested, in which the creative generation of building designs is set in the context of the development of a 'data-base' of information which completely and consistently describes the architect's hypothetical building solution. This thesis describes research carried out by the author between 1981 and 1984, and describes the theory, development and application of algorithms to interpret architect's sketch plan drawings, and hence permit the encoding of building geometries for CAAD applications programs

Getting a Handle on It: Thomas Lamb, Mass Production, and Touch in Design History

© 2023 University of Pennsylvania Press. All rights reserved. This is the accepted manuscript version of an article which has been published in final form at https://doi.org/10.9783/9781512824216-011This chapter proceeds from the premise that the hands which operated the machinery of capitalism were not merely a unit by which the power needed to perform the labor required was calculated but, rather, they were sentient and individuated, and are themselves worthy of the focal attention of the historian. I reflect on the construction of knowledge about the senses from the perspective of a design historian using tactile research methods to understand the design process. I examine a case study of design production with reference to the work of Thomas Lamb, the ‘Handle Man’, as it is evidenced in the Thomas Lamb collection at Hagley Museum and Library