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

Tanzania : a new architectural pedagogy

According to Habitat for Humanity, the impact of poverty on education in East Africa remains one of the biggest challenges faced by the region. Self sufficiency is the most sustainable way to advance a society and is a missing link that would help empower developing communities. This thesis imagines a more accessible network of education for the greater region of Kigoma, Tanzania. It proposes this through a two-step system, the first programmatic, the second architectural. Both strategies seek to strengthen the connection between local and global communities, as an education mission. The proposed educational network utilizes a Central Hub located within the urban context of Kigoma. This Hub acts as an information collection center, vocational school and community center. Then, through both radio broadcast and physical exchange of materials (a mission inspired by Open Learning Exchange and KICORA), the Central Hub distributes educational materials to Satellite Schools which are strategically placed throughout the countryside. The connection generated is a two-way information flow between global, urban and rural communities. The proposed architectural language investigates the marriage of native materials with innovative, yet simple design techniques, with the purpose of enriching and simplifying the construction process for local builders, both unskilled and artisan. It seeks to enhance, but not adulterate, vernacular architecture through use of the rammed earth wall and bamboo armature. These local materials are then paired with imported metal and fabric roofs, with strategic technological interventions, which act as an architectural expression of outreach. While a perimeter security wall is normal and recommended by local leaders, this generates an interesting conundrum for a project which is focused on community engagement and worldly connectedness. Hence, the wall has become a vehicle which embodies outward engagement, through responding to exterior neighborhood conditions and giving back to the adjacent community. Paired with varying roof conditions, the wall accomplishes this through designed moments of porosity, water collection and distribution, shade, performance space, inhabitation, protection and openness

Participant profiles and symptom responses in the initial stages of a South African Mental health managed care programme

Introduction Continuously rising health care and workplace costs associated with mental illness is demanding attention from health care funders in South Africa’s private health care sector. The majority of mental health care costs are generated by in-hospital care, whilst funded access to ambulatory care is limited in this sector. The Medscheme Mental Health Programme (MMHP) is a collaborative care project which aims to promote the integration of good quality mental health care into the primary care setting. In a “treatment-to-target” approach, symptom score trackers are used to systematically monitor response to treatment in order to help identify and modify suboptimal treatment plans timeously (Hattingh 2017b). Aims This study describes the MMHP participants and pathways into and through the MMHP, and its initial clinical outcomes. Methods Principal members and dependant beneficiaries of two participating medical schemes screened for enrolment on the MMHP between 1 August 2016 and 28 February 2018 were included in the study. Persons younger than 18 years were excluded. Symptoms of major depressive disorder (MDD), generalised anxiety disorder (GAD), posttraumatic stress disorder (PTSD) and alcohol abuse were screened for by using the Patient Health Questionnaire-9 (PHQ-9) (Spitzer, Williams, and Kroenke 2002-2015; Kroenke and Spitzer 2002), the Generalised Anxiety Disorder Questionnaire-7 (GAD-7) (Spitzer, Williams, and Kroenke 2002-2015; Spitzer and Kroenke 2006), the Primary Care Post-Traumatic Stress Disorder Screen (PC-PTSD) US Department of Veteran Affairs (2015); (Prins, Ouimette, and Kimerling 2003) and the Alcohol Use Disorders Identification Test (AUDIT) (Babor et al. 2001). The Medscheme Care Manager administered these questionnaires telephonically to screen candidates for enrolment on the Programme and communicated regularly with the associated clinical practitioner regarding treatment response. A specialist psychiatrist reviewed and provided recommendations on problematic cases at set intervals. Using logistic regression, the association between demographic characteristics and scheme type and the presence of moderate or severe symptoms of 1) depression, 2) generalised anxiety disorder, and 3) post-traumatic stress disorder, was assessed. Percentages of the sample with a single condition, one, two and three comorbidities were also analysed, as well as the proportions of co-occurrence per various combinations of conditions. Wilcoxon signed rank tests were used to determine the change in symptom severity between baseline and 10 weeks in those receiving intervention through the MMHP. Linear regression models were created to analyse the predictors of change in clinical scores. Results In the screened group, 48.6% were found to have moderate to severe symptoms of anxiety on the GAD-7, 53.2% of depression on the PHQ-9, and 33.2% of PTSD on the PC-PTSD. Relatively high rates of possible comorbidity were found in this study, especially between depression and anxiety: of those screening positive for any one condition, 73.8% screened positive on the combination of PHQ-9 and GAD-7. Screening positive on the PHQ-9 was found to be a very strong predictor of concomitant positive screening on the GAD-7 (OR = 36.4, CI = 25.3 - 52.2), and vice versa - screening positively on the GAD-7 strongly predicted positive screening on the PHQ-9 (OR = 36.6, CI = 25.4 - 52.6). Strong associations were demonstrated with females and potential depression (OR = 1.51, CI = 1.03 - 2.21) and/or PTSD (OR = 1.65, CI = 1.18 - 2.31), while younger age was significantly associated with higher likelihood of screening positive for potential depression (OR: 0.99, CI= 0.98 - 1.00), PTSD (OR = 0.97, CI 0.96 - 0.98) and/or generalised anxiety disorder (OR = 0.97, CI = 0.96 - 0.98). There were statistically and clinically significant improvements in clinical scores for all four conditions at Week 10 after enrolment on the MMHP, compared to baseline: 21% reduction in mean scores in the AUDIT, 43% in the GAD-7, 45% in the PHQ-9, and 36% in the PC-PTSD. Conclusion In its current form, the MMHP appears to be successful in reaching significantly symptomatic medical scheme beneficiaries, with possible scope to expand its reach. Certain key design elements such as using clinical data to determine risk and need for intervention, treatment target calculation adjusted for baseline, screening for comorbidity, and current referral sources, appear to be appropriate. Given the absence of a control group, however, further research is required to confirm the outcomes of the intervention

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

Chapter “Di-segno” manuale e “De-sign” digitale, una scelta di comunicazione visiva

The 43rd UID conference, held in Genova, takes up the theme of ‘Dialogues’ as practice and debate on many fundamental topics in our social life, especially in these complex and not yet resolved times. The city of Genova offers the opportunity to ponder on the value of comparison and on the possibilities for the community, naturally focused on the aspects that concern us, as professors, researchers, disseminators of knowledge, or on all the possibile meanings of the discipline of representation and its dialogue with ‘others’, which we have broadly catalogued in three macro areas: History, Semiotics, Science / Technology. Therefore, “dialogue” as a profitable exchange based on a common language, without which it is impossible to comprehend and understand one another; and the graphic sign that connotes the conference is the precise transcription of this concept: the title ‘translated’ into signs, derived from the visual alphabet designed for the visual identity of the UID since 2017. There are many topics which refer to three macro sessions: - Witnessing (signs and history) - Communicating (signs and semiotics) - Experimenting (signs and sciences) Thanks to the different points of view, an exceptional resource of our disciplinary area, we want to try to outline the prevailing theoretical-operational synergies, the collaborative lines of an instrumental nature, the recent updates of the repertoires of images that attest and nourish the relations among representation, history, semiotics, sciences

Tracheal reconstruction strategies: a comparison between new cryopreserved and decellularized allografts

openIn clinical practice, tracheal injuries are primarily handled through resection and tensionless end-to-end anastomosis (TRA). However, this approach is not feasible in case of lesions exceeding the 50% or the 30% of the trachea length, in adults and in children, respectively. Currently, in such conditions, long-term airway stenting is the only established option; however, it may be responsible of some complications boosting research on the identification of valuable tracheal substitutes able to overcome the TRA limitations. In this scenario, the study presented in this thesis work deals with the development and comparison between two promising tracheal substitutes consisting in cryopreserved and decellularized tracheal grafts. Specifically, pig-derived grafts were processed through cryopreservation and decellularization and then analyzed for their DNA and xenoantigen content, extracellular matrix (ECM) features, ultrastructure and mechanical behaviour. Moreover, in vitro cytotoxicity and in vivo biocompatibility evaluations were performed to verify the grafts’ safety effects on cells and to ensure their compatible integration with host tissues. Evidence provided by the experimental data showed that both strategies allow an effective reduction of graft immunogenicity, especially with the decellularization approach. The cryopreserved samples displayed minimal changes in their microscopic structure, include a reduced number of cilia in the respiratory epithelium and less dense mucosa and submucosa; in contrast, decellularization partly altered the tracheal segments by removing cellular elements while leaving behind a disorganized connective tissue. Considering the ECM components, the collagen content was preserved, while the decellularized graft was depleted of glycosaminoglycans (GAGs), consistent with its change in mechanical proprieties. The grafts both guarantee cytotoxicity absence, as also proved by biocompatibility assay in vivo. These substitutes are both worthy options, but more in vivo studies are required to validate them

Architecture and digital drawing tablets, bringing back human control over HAL

[EN] Architectural imagery and design are nowadays pervaded by computerization, consequently freehand drawing suffered a drastic decline. This paper reviews the advantages and drawbacks of digitalization, examines the reasons of the reborn need for freehand drawing and reports about published evidence of creativity being facilitated by hand movement. A new drawing medium is now available in the form of digital tablets. These allow freehand drawing with more ease and efficiency than on paper but hand movements and feeling are the same as in traditional drawing. Aim of this paper is to provide the basis for a proposal to merge advantages of digitalization with creativity stemming from freehand drawing by the use of modern digital drawing tablets in architecture. The preliminary results of a pilot survey carried out in 8 countries revealed that there is a widespread need for architectural academic courses of freehand drawing on digital tablets, so far not implemented. It is expected that the survey may be completed in the next few months and a wider sample may provide more detailed indications. In conclusion it is proposed that the digital tablets may be the future solution for a fruitful union between the digital and the creative imagery in architecture.Leandri, G. (2021). Architecture and digital drawing tablets, bringing back human control over HAL. En 7th International Conference on Higher Education Advances (HEAd'21). Editorial Universitat Politècnica de València. 957-965. https://doi.org/10.4995/HEAd21.2021.12700OCS95796