Symbiosis between panoramic photography, CGI and freehand drawing in landscape representation

[EN] This article aims to highlight the value of immersive panoramic photography, computerized drawing and traditional freehand drawing when representing the landscape, not only analyzing the particular interest inherent to each one of these techniques, but also underlining the added value that involves the integration of these three techniques when representing a landscape project. Architects learn to use most of the above mentioned representation methods, but photography seems to be the great absent in many of the curricula of the Spanish architecture schools. Therefore, in our lectures at Master¿s degree in Landscape, we emphasize the importance of photography as a representation technique and we show several panoramic photography techniques that are really useful in landscape representation. Panoramic landscape photography will help us to represent the landscape environment, since these panoramic images compose a starting canvas on which we can already work from an early phase of the project superimposing the elements that will conform the project, with the freshness spontaneity and dynamism that characterizes the freehand drawing. Later, when the project is mature, we can also superimpose more elaborate elements that can be carried out with the help of software tools that allow us a very detailed and precise definition. This methodology has an additional advantage, so the representations can complementarily be viewed interactively from a computer or mobile device or they can even be visualized immersively using a personal viewer such as the affordable Google Cardboard, which uses a Smartphone as a display. In order to illustrate the advantages and the interest of this integrative representation methodology, we will describe bellow the used techniques and tools, together with some results and application examples.Cabezos Bernal, PM.; Barros Da Rocha E Costa, HA.; Iñarra Abad, S. (2019). Symbiosis between panoramic photography, CGI and freehand drawing in landscape representation. DisegnareCon. 12(22):4.1-4.11. http://hdl.handle.net/10251/155706S4.14.11122

The architectural sketch in the digital era

[EN] This article analyses the use of the sketch in contemporary architecture, which is characterized by a systematic recourse to computerized graphics media. On the basis of the intimate relationship between manual gestures and the creation of complex concepts, as defined by modern research in the fields of psychology, linguistics and neurology, it concludes that although the calculation capacity of the computer allows us to give free rein to our most complex fantasies, the distance which its mathematic algorithms impose between the mental processes of design and the graphic result of those processes is covered in a much more efficient way by graphic techniques as simple as the sketch and the design model; both techniques are based on human manual gestures and, thus, linked to our most profound cognitive mechanisms.[ES] El artículo analiza el uso del boceto en la arquitectura contemporánea caracterizada por el recurso sistemático a los medios gráficos informatizados. Basándose en la íntima relación que une a la gestualidad manual con el proceso de generación de conceptos complejos, tal como lo definen modernas investigaciones en los ámbitos de la psicología, la lingüística y la neurología, concluye que si bien la capacidad de cálculo del ordenador nos permite dar rienda suelta a nuestras fantasías más complejas, pero el distanciamiento que imponen sus algoritmos matemáticos entre los procesos mentales de diseño y el resultado gráfico de los mismos, lo suplen de manera mucho más eficiente técnicas gráficas tan sencillas como el boceto y la maqueta; técnicas ambas basadas en la propia gestualidad manual, y ligadas, por lo tanto, con nuestros mecanismos cognitivos más profundos.Llopis Verdú, J.; Giménez Ribera, M.; Barros Da Rocha E Costa, HA. (2013). El boceto arquitectónico en la era digital. Arquiteturarevista. 9(2):143-152. doi:10.4013/arq.2013.92.07S1431529

Pervasive gaps in Amazonian ecological research

Biodiversity loss is one of the main challenges of our time,1,2 and attempts to address it require a clear un derstanding of how ecological communities respond to environmental change across time and space.3,4 While the increasing availability of global databases on ecological communities has advanced our knowledge of biodiversity sensitivity to environmental changes,5–7 vast areas of the tropics remain understudied.8–11 In the American tropics, Amazonia stands out as the world’s most diverse rainforest and the primary source of Neotropical biodiversity,12 but it remains among the least known forests in America and is often underrepre sented in biodiversity databases.13–15 To worsen this situation, human-induced modifications16,17 may elim inate pieces of the Amazon’s biodiversity puzzle before we can use them to understand how ecological com munities are responding. To increase generalization and applicability of biodiversity knowledge,18,19 it is thus crucial to reduce biases in ecological research, particularly in regions projected to face the most pronounced environmental changes. We integrate ecological community metadata of 7,694 sampling sites for multiple or ganism groups in a machine learning model framework to map the research probability across the Brazilian Amazonia, while identifying the region’s vulnerability to environmental change. 15%–18% of the most ne glected areas in ecological research are expected to experience severe climate or land use changes by 2050. This means that unless we take immediate action, we will not be able to establish their current status, much less monitor how it is changing and what is being lostinfo:eu-repo/semantics/publishedVersio

Pervasive gaps in Amazonian ecological research

Biodiversity loss is one of the main challenges of our time,1,2 and attempts to address it require a clear understanding of how ecological communities respond to environmental change across time and space.3,4 While the increasing availability of global databases on ecological communities has advanced our knowledge of biodiversity sensitivity to environmental changes,5,6,7 vast areas of the tropics remain understudied.8,9,10,11 In the American tropics, Amazonia stands out as the world's most diverse rainforest and the primary source of Neotropical biodiversity,12 but it remains among the least known forests in America and is often underrepresented in biodiversity databases.13,14,15 To worsen this situation, human-induced modifications16,17 may eliminate pieces of the Amazon's biodiversity puzzle before we can use them to understand how ecological communities are responding. To increase generalization and applicability of biodiversity knowledge,18,19 it is thus crucial to reduce biases in ecological research, particularly in regions projected to face the most pronounced environmental changes. We integrate ecological community metadata of 7,694 sampling sites for multiple organism groups in a machine learning model framework to map the research probability across the Brazilian Amazonia, while identifying the region's vulnerability to environmental change. 15%–18% of the most neglected areas in ecological research are expected to experience severe climate or land use changes by 2050. This means that unless we take immediate action, we will not be able to establish their current status, much less monitor how it is changing and what is being lost

Pervasive gaps in Amazonian ecological research

Biodiversity loss is one of the main challenges of our time,1,2 and attempts to address it require a clear understanding of how ecological communities respond to environmental change across time and space.3,4 While the increasing availability of global databases on ecological communities has advanced our knowledge of biodiversity sensitivity to environmental changes,5,6,7 vast areas of the tropics remain understudied.8,9,10,11 In the American tropics, Amazonia stands out as the world's most diverse rainforest and the primary source of Neotropical biodiversity,12 but it remains among the least known forests in America and is often underrepresented in biodiversity databases.13,14,15 To worsen this situation, human-induced modifications16,17 may eliminate pieces of the Amazon's biodiversity puzzle before we can use them to understand how ecological communities are responding. To increase generalization and applicability of biodiversity knowledge,18,19 it is thus crucial to reduce biases in ecological research, particularly in regions projected to face the most pronounced environmental changes. We integrate ecological community metadata of 7,694 sampling sites for multiple organism groups in a machine learning model framework to map the research probability across the Brazilian Amazonia, while identifying the region's vulnerability to environmental change. 15%–18% of the most neglected areas in ecological research are expected to experience severe climate or land use changes by 2050. This means that unless we take immediate action, we will not be able to establish their current status, much less monitor how it is changing and what is being lost

HISTORIA DE LA REPRESENTACIÓN GRÁFICA DEL CASTILLO DE PEÑÍSCOLA. DEL GRAFITO AL LÁSER

Cuando sea leída esta tesis, habrán transcurrido exactamente siete siglos desde que un Obispo, de nombre Paholac, empezó, inconscientemente, este viaje por la Historia de la Representación Gráfica del Castillo de Peñíscola. Desde este primer y esquemático dibujo, realizado en el año 1314, hasta la actualidad, se ha formado una inédita historia gráfica de la Fortaleza cíclicamente reconstruida, donde el legado del Temple predomina. En este espacio temporal de setecientos años, entre guerra y paz, se han producido los ejemplos gráficos estudiados que acaban por representar pequeños testimonios del recorrido del arte. Desde los dibujos medievales hasta la tecnología digital, pasando por el Renacimiento o el Romanticismo, las formas, los conceptos y las técnicas gráficas usadas en la representación de la fortaleza, plasman substanciales características de dichos movimientos artísticos. Actualmente la tecnología láser permite el levantamiento arquitectónico unitario y global de toda la fortificación, aportando la representación digital e integrando la contemporaneidad a esta historia del dibujo; se crean perspectivas inéditas permitidas por el desarrollo de novedosas técnicas de estudio. Toda esta nueva información constituye un documento metodológico fiable, útil para futuros estudios históricos o posibles visitas virtuales. Al mismo tiempo que se ha realizado el trabajo de campo en Peñíscola, se ha visitado un gran número de archivos y bibliotecas en varios países, para la obtención de la información teórica y gráfica relativa a las cruzadas y al Arte Templario. Además, para posibilitar un mejor y personal entendimiento del material encontrado y objeto de estudio, se han llevado a cabo registros analíticos (dibujos, croquis, mediciones, notas, etc,¿) en diversos vestigios templarios en Italia, Portugal y España, de alguna u otra manera relacionadas con la edificación castellonense. La documentación resultante, compendio de los documentos gráficos expuestos y analizados, se complementa con la descripción del método de levantamiento arquitectónico basado en la tecnología láser-3D, desarrollada por nuestro equipo de investigación.Barros Da Rocha E Costa, HA. (2014). HISTORIA DE LA REPRESENTACIÓN GRÁFICA DEL CASTILLO DE PEÑÍSCOLA. DEL GRAFITO AL LÁSER [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/36959TESI

NYC relatos gráficos

Esta obra presenta un conjunto enérgico y atractivo de bocetos, intrincados y poéticos. Cada dibujo es una historia íntima sobre un momento fugaz en la ciudad de New York, contada a través de un agudo ojo y de la mano de un virtuoso. Durante cuatro meses, entre otoño e invierno, el autor registró a través del dibujo, su vivencia y relación emotiva con determinados espacios de esta ciudad, priorizando los barrios periféricos, como alternativa a Manhattan. Los largos viajes se realizaban diariamente en bicicleta, desde Bushwick, Brooklyn, con el objetivo de saltar las fronteras tradicionales neoyorkinas y estudiar gráficamente barrios alternativos, donde el autor se convertía en un dibujante solitario. De los cerca de 350 dibujos producidos, se seleccionó una muestra, que ilustra los diferentes temas, soportes, escalas y técnicas manipulados. La obra está nominada para el International Travel Book Award del 18eme Rendez-vous du Carnet de Voyage en Clermont-Ferrand,el más prestigioso premio para cuadernos de viaje.Barros Da Rocha E Costa, HA. (2017). NYC relatos gráficos. Editorial Universitat Politècnica de València. http://hdl.handle.net/10251/90782EDITORIA

La Pirámide Invertida - Técnicas gráficas para la generación de formas complejas

[ES] Con motivo de la visita del escultor mexicano Damián Ortega a la Universitat Politècnica de València, los alumnos de la asignatura Técnicas Gráficas para la Generación de Formas Complejas deberán crear, modelar, esculpir una cubierta resuelta con una estructura reticular de vigas de madera, interconectadas entre sí, que cubra el espacio generado por su pieza escultórica "Pirámide invertida" (2010). Para ello harán uso de las herramientas digitales Rhinoceros 3D y Grasshopper 3D bajo unos determinados parámetros de diseño.[EN] On the occasion of the visit of the Mexican sculptor Damián Ortega to the Polytechnic University of Valencia, the students of the subject "Técnicas Gráficas para la Generación de Formas Complejas" have been tasked to create, model, and sculpt a roof resolved with a reticular structure of interconnected wooden beams that covers the space generated by his sculptural piece "Pirámide invertida" (2010). To do this they have used the Rhinoceros 3D and Grasshopper 3D digital software under certain design parameters.Molina Siles, PJ.; Barros Da Rocha E Costa, HA. (2019). La Pirámide Invertida - Técnicas gráficas para la generación de formas complejas. Universitat Politècnica de València - Departamento de Expresión Gráfica Arquitectónica. http://hdl.handle.net/10251/160918

Ágora Pavilion - Técnicas gráficas para la generación de formas complejas

[ES] Con motivo del 50ª aniversario de la Universitat Politècnica de València, los alumnos de la asignatura Técnicas Gráficas para la Generación de Formas Complejas deberán crear, modelar, esculpir un pabellón resuelto con una estructura reticular de vigas de madera, interconectadas entre sí, que cubra el espacio generado por el sello-emblema de la Universitat Politècnica de València, ubicado en el ágora de la misma universidad. Para ello harán uso de las herramientas digitales Rhinoceros 3D y Grasshopper 3D bajo unos determinados parámetros de diseño.[EN] On the occasion of the 50th anniversary of the Polytechnic University of Valencia, the students of the subject Graphic Techniques for the Generation of Complex Shapes have been tasked to create, model and sculpt a pavilion resolved with a reticular structure of interconnected wooden beams that covers the space generated by the seal-emblem of the Universitat Politècnica de València, located in the agora of the aforementioned university. To do this they have used the Rhinoceros 3D and Grasshopper 3D digital tools under certain design parameters.Molina Siles, PJ.; Barros Da Rocha E Costa, HA. (2019). Ágora Pavilion - Técnicas gráficas para la generación de formas complejas. http://hdl.handle.net/10251/160917