EL RENDER DE ARQUITECTURA. Análisis de la respuesta emocional del observador

En el ámbito de la expresión gráfica arquitectónica, la realidad virtual supone una herramienta, indispensable en nuestros días, para comunicar del proyecto de arquitectura. Entre todos los canales de expresión de la realidad virtual, los renders o perspectivas digitales son los más comúnmente empleados en concursos, publicaciones y medios de divulgación arquitectónica. En estos soportes, las imágenes renderizadas permiten una rápida comprensión de la propuesta planteada, sean expertos o no los observadores de las mismas. El rápido avance de los programas informáticos de modelización digital ha permitido a los arquitectos producir sofisticadas imágenes como una valiosa herramienta para seducir a los observadores de las mismas. Si los medios de representación diédrica requieren del observador determinadas habilidades de interpretación espacial para imaginar el futuro lugar que el proyecto contendrá, estas imágenes nos trasladan directamente a él y nos permiten sentir lo que en aquellos lugares experimentaríamos. Estas sensaciones evocadas, generarán en el observador, una opinión más o menos favorable, sobre el espacio que la imagen representa. El proyecto necesita comunicarse, y por lo tanto requiere de cierta estrategia de comunicación. Si hasta ahora era el punto de vista del arquitecto el que inundaba la expresión del proyecto de arquitectura, ahora aparece la figura del usuario (jurado de concurso, futuro cliente, comprador de un piso) como un nuevo filtro a través del cual, se hace necesario observar el proyecto. Conocer los factores cognitivos que hay detrás del proceso de evaluación del observador permite la aplicación de técnicas, de manera que analizando las preferencias del usuario, éstas pueden ser incluidas en el proceso de diseño. La publicidad actual desarrolla sofisticadas estrategias para captar la atención del público general o de un determinado sector en particular, y despertar en él sentimientos que favorezcan la elección del producto diseñado. Sin embargo, no se encuentran apenas trabajos de investigación que analicen los factores cognitivos en renders de arquitectura.Iñarra Abad, S. (2014). EL RENDER DE ARQUITECTURA. Análisis de la respuesta emocional del observador [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/38447TESISPremios Extraordinarios de tesis doctorale

Graphic styles for the representation of the landscape

[EN] Long before the landscaper existed as we understand it now, the study of landscape was already a great concern for society, tackled by cartographers and artists. The cartographers have tried to represent the terrestrial surface from an objective and quantifi able point of view, the advances in the technical means of measurement and representation have been rising to cartographic representations increasingly faithful to reality. From the point of view of art, the representation of landscape has undoubtedly been a constant in the pictorial representation. Subjective vision of natural and rural environment through great masters of painting has been a great source of information about the meaning that has been attributed to the landscape through the ages. Current term of landscape includes aspects inherited from the past and adds the sociological and cultural component in its meaning. This new standpoint extends the content of landscape representation. In turn, the rapid introduction of new graphic technologies has signifi cantly modifi ed the representative possibilities of territory. Projects carried out by studies of landscape architecture today, show a wide variety of techniques to approach from the creativity and ingenuity, the complexity of the components of the landscape. In Department of Architectural Graphic Expression, through the supervision of different Final Degree Projects, we have analyzed the graphic representation techniques in the current international scenario. After analyzing the tools and graphic trends in diff erent landscape architecture studies, the student opts for a graphic language that will serve as a reference to represent a project and reach their own conclusions on the adequacy of each language to the type of project.Sender Contell, M.; Iñarra Abad, S. (2019). Graphic styles for the representation of the landscape. DisegnareCon. 12(22):26.1-26.10. http://hdl.handle.net/10251/155505S26.126.10122

Introducing emotions in the architectural design process

[EN] 3D images or architectural renders are expressive tools widely used by architectural students to communicate their projects. Not only do these images have the task of transmitting the formal and functional characteristics of the project, but also need to evoke in users the sort of feelings and emotions which can only be aroused by experiencing the architecture. An experiment we undertook enabled us to find that these emotions can be quantified and may relate to the design parameters of the image, moreover there are also substantial differences in the valuation between architects and non-architects. Thus, the aim of this paper is to incorporate the results of our research on the learning of this graphical tool into the learning of architecture. Therefore we have established a teaching methodology in which the images are not only employed to show the final result of design, but are also incorporated into the creative process to investigate emotional and aesthetic responses of the user of the designed space..Juan Vidal, F.; Iñarra Abad, S. (2015). Introducing emotions in the architectural design process. En 1ST INTERNATIONAL CONFERENCE ON HIGHER EDUCATION ADVANCES (HEAD' 15). Editorial Universitat Politècnica de València. 539-544. https://doi.org/10.4995/HEAD15.2015.392OCS53954

Interpretazione dello spazio esistenziale attraverso l'immagine digitale

[EN] The logical way to learn from the architectural space and then be able to design and represent it is, undoubtedly, that of experiencing it through all the sensitive channels that the space wakes up us. But since the last 30 years, much of our learning about space comes from images of architecture and not from the space itself. The art of architecture is drifting towards a visual art and moving away from its existential side. In digital images that have flooded the architectural media, digital photographs of existing spaces intermingle with non-existent space renderings (photographs with a virtual camera). The first ones represent existing places but can be altered to change the perception that the observer of the image will have, the second ones speak to us about places that do not exist yet but they present reality portions through extracts from digital photography (textures, trees, people...) that compose the image.[IT] Il modo più logico di apprendere dello spazio architettonico per essere in grado di progettare e rappresentare è, senza dubbio, quello di sperimentare attraverso tutti i canali sensoriali che lo spazio ci sveglia. Ma negli ultimi 30 anni, gran parte del nostro apprendimento sullo spazio proviene dalla immagini architettoniche e non del spazio stesso. L’arte di architettura si sta spostando verso un arte visivo e si sta allontanando dalla sua componente esistenziale. Nelle immagini digitali che hanno invaso i media di diffusione della Architettura, si mescolano fotografie digitali di spazi esistenti con renders (fotografie prese con una macchina virtuale) di spazi inesistente. Le prime rappresentano luoghi esistenti ma possono essere modificati per cambiare la percezione che l’osservatore dell’immagine sarà del luogo, le seconde parlano di luoghi che non esistono ma presentano episodi della realtà attraverso estratti di fotografia digitale (texture, alberi, persone...) che compongono l’immagine.Iñarra Abad, S.; Juan Vidal, F. (2013). Existential space understanding through digital image. DisegnareCon. 6(12):XI-1-XI-6. doi:10.6092/issn.1828-5961/3855XI-1XI-661

The architect s'brain and the thinking hand

[EN] After a few decades of enthusiasm for the use of CAD tools in architectural design, there is now concern about the impaired creativity in the process of creating the project, due to the standardization of computer processing and the repetitive movement of the hands. Several theories suggest that haptic perception during freehand drawing favors creativity and thus generation of new ideas. Research on brain function has shown that perceived hand movements can trigger activity in cognitively relevant areas of the parietal and frontal cortex, possibly related to creativity. However, so far no experimental studies have been conducted to analyze the brain activity during hand drawing. This article describes an investigation in which the electroencephalographic activity during freehand architectural drawing has been compared to CAD drawing with a mouse. The results obtained reveal that hand drawing is related to increased brain activity, which would support the hypothesis that creativity is enhanced by free hand movements on paper.[ES] Tras algunas décadas de entusiasmo por el uso de las herramientas CAD en el diseño arquitectónico, surge ahora la preocupación sobre la pérdida de creatividad en el proceso de creación del proyecto, debido a la estandarización del procesamiento informático y al movimiento repetitivo de las manos. Diferentes teorías defienden que la percepción háptica durante el dibujo a mano alzada favorece la creatividad y así la generación de nuevas ideas. Las investigaciones sobre la función cerebral han demostrado que el movimiento percibido de la mano puede generar actividad en áreas cognitivamente relevantes de la corteza parietal y frontal, posiblemente relacionadas con la creatividad. Sin embargo, hasta el momento no se han realizado estudios experimentales para analizar la actividad cerebral durante el dibujo a mano. El presente artículo describe una investigación llevada a cabo en la que se ha comparado la actividad electroencefalográfica durante el dibujo arquitectónico a mano alzada frente al dibujo CAD con ratón. Los resultados obtenidos revelan que el dibujo a mano está relacionado con una actividad cerebral mayor, lo que respaldaría la tesis de que la creatividad se ve reforzada por los movimientos libres de la mano sobre el papel.Leandri, G.; Iñarra Abad, S.; Juan Vidal, F.; Leandri, M. (2022). El cerebro del arquitecto y la mano pensante. EGA Expresión Gráfica Arquitectónica. 27(46):184-193. https://doi.org/10.4995/ega.2022.18434184193274

Design Attributes Influencing the Success of Urban 3D Visualizations: Differences in Assessments According to Training and Intention

[EN] The graphic tools most widely used for communicating the design of future urban spaces are 3D visualizations. These virtual images allow graphic designers to manipulate conditions to embellish the final image they present. But, what design attributes are associated with positive assessments? This paper attempts to identify the key design attributes for a successful proposal and observes whether intention (assess the image versus assess the project) and observer training (architect versus non-architect) influence that relationship. A field study was carried out using assessments from 225 individuals. Results show that color, nature, and architecture are fundamental elements in successful proposals. Significant differences in assessments have also been observed according to the training and intentions of the assessorsThis work was supported by Ministerio de Economía y Competitividad (Spain) [grant no. TIN2013-45736-R].Llinares Millán, MDC.; Iñarra Abad, S.; Guixeres Provinciale, J. (2018). Design Attributes Influencing the Success of Urban 3D Visualizations: Differences in Assessments According to Training and Intention. Journal of Urban Technology. https://doi.org/10.1080/10630732.2018.1444873

Analysis of facade solutions as an alternative to demolition for architectures with visual impact in historical urban scenes

[EN] Some urban regulations oblige to replace buildings with visual impact in the surroundings of a historical monument, what implies undesired sustainable and social consequences. We conducted a study to evaluate if alternative façade solutions can improve the assessment of cityscape integration and preferences for six tall buildings with visual impact in the surroundings of the Serranos Towers of Valencia (XIVth Century). Results show that, although replacing buildings is the most integrated solution, some alternatives also improve the landscape integration of visually-impacting architectures and are better preferred than demolition. Citizens are in favor of intermediate positions between actual state and demolition, with people unfamiliar with the area more inclined towards demolition.This work was supported by the Generalitat Valenciana, Valencia, Spain under Grant [GV/2015/011, `Emergent Research & Development Projects/ ¿I+D per a grups d¿investigació emergent¿]. Funding for open access charge: CRUE-Universitat Politècnica de València.Serra, J.; Iñarra Abad, S.; Torres Barchino, AM.; Llopis Verdú, J. (2021). Analysis of facade solutions as an alternative to demolition for architectures with visual impact in historical urban scenes. Journal of Cultural Heritage. 52:84-92. https://doi.org/10.1016/j.culher.2021.09.005S84925

Digital space: comparative evaluation of the latest architectural techniques

[EN] The great technological evolution of architectural rendering resources over the last few decades has opened up a new range of possibilities to visualise the non-built space.The spatial immersion systems, developed by the videogame industry, have entered in the sceptical area of architectural rendering, offering a series of undeniable advantages including enhancing the understanding of spaces to inexpert people.In order to study the benefits of these new virtual tools, an experimental study was carried out so as to compare the user response to technological and graphic supports.With a simple of 84 individuals, the obtained data reveal significant differences in the space perception depending on the format and support used to their representation. The results of this study allow us to reflect on new means of architectural rendering in the professional and teaching field.[ES] La gran evolución tecnológica en los medios de representación arquitectónica durante las últimas décadas, ha abierto un nuevo abanico de posibilidades digitales para visualizar el espacio no construido. Los sistemas de inmersión espacial, desarrollados inicialmente por la industria del videojuego, han ido adentrándose en el escéptico ámbito de la representación arquitectónica, ofreciendo una serie de innegables ventajas, entre ellas facilitar la comprensión de los espacios al no especializado. Con el objeto de estudiar las bondades de estas nuevas herramientas virtuales, se llevó a cabo un estudio experimental que compara la respuesta del usuario ante distintos soportes gráficos y tecnológicos. Con una muestra de 84 participantes, los datos obtenidos revelan importantes diferencias en la percepción del espacio en función del formato y soporte empleado para su representación. Los resultados de este trabajo permiten reflexionar en torno a los nuevos medios de representar la arquitectura, en el ámbito profesional y el docente.Este trabajo de investigación ha sido financiado por el Ministerio de Economía y Competitividad de España (proyecto TIN2013-45736-R).Higuera-Trujillo, JL.; López-Tarruella Maldonado, J.; Llinares Millán, C.; Iñarra Abad, S. (2017). El espacio digital: comparativa de las últimas técnicas de visualización arquitectónica. EGA. Revista de Expresión Gráfica Arquitectónica. 22(31):102-111. https://doi.org/10.4995/ega.2017.4234SWORD102111223

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