Representation has always been a critical component in architectural practice and representational techniques have been evolving over time. The relatively recent advent of the digital media is revolutionizing architectural representation. Digital representation techniques are proving to be a more effective means of communicating the design to the client and the collaborative project team. The techniques are advancing so rapidly that it is becoming increasingly difficult to keep in pace with the digital acceleration and utilize these representation techniques in architectural practice. There is a wide difference between what is possible using digital architectural visualization and what is implemented in practice. The research explores the extent of utilization of these digital representation techniques and the challenges they pose in practical implementation. Employing a logical approach to selectively implement this digital procedural change in representation would help in realizing the strategic benefits of these rapidly progressing techniques.

Winsor McCay drew delightful drawings about the dreams of a Welsh rarebit fiend, 'rare bits' inspired by an overindulgence in cheese. Dreams of the Rarebit Fiend was a Saturday cartoon that appeared in the New York Evening Telegram from 1904 to 1911, psychic twin to Little Nemo in Slumberland that appeared concurrently in the Sunday Funnies of the New York Herald from 1905-1911. 'Slumberland' was a Neo-classical fantasy that closely resembled the idealized White City of the Chicago World's Fair (1893), that inspired the architecture of Coney Island's Dreamland (1905-1911), which beckoned to McCay as he drew from his house just across Sheepshead Bay in Brooklyn. The capricious side of this Architecture emerged in McCay's cartoons. A self-taught illustrator, McCay began his career in Detroit working in dime museums, worlds of wonder—filled with monsters—dioramas and sideshow performers whose livelihood depended on their ability to amaze an audience. Just this sort of rare and gifted fellow, McCay parlayed his entertaining lampoonery of Slumberland into some of the world's first animations on vaudeville. As with the Rarebit Fiend, Little Nemo's dreams were brought on by overindulgence, in his case of too many donuts or Huckleberry Pie. But, this was merely a pretense for McCay's fantastical 'dream' mode of thinking, a potentially useful body of knowledge that was simultaneously explored by Sigmund Freud, Henri Bergson and Marcel Proust, who linked the mechanisms employed by the unconscious in dreaming to those at play in wit. Architectural drawing—seen through McCay's cartoons and early animations—has a kind of 'gastronomical' alchemy that inadvertently became a treatise on the architectural imagination. Fiend and Little Nemo affected the psychic mood of early modern Architecture—its 'childhood' in the milieu of White Cities—that was both added to and commented on by Winsor McCay's pen. His cartoons portray the hidden 'flavors' of the buildings springing up a century ago. This 'other'—surreal—aspect of the White Cities, seasoned with whirling iron Ferris wheels and Flip-Flop rides, newly invented elevators and electric lights—and even fun house mirrors that made buildings suddenly seem very tall—were the ingredients that caused the fiend and Nemo to wake up, which ultimately became the culinary school of modern Architecture. McCay's 'fiendish' depictions show us that the right blend of humor and awe is a recipe for happiness. / Doctor of Philosophy / Winsor McCay made cartoons of the 'nightmares' of a Rarebit Fiend with a witty, unflinching eye for detail. Those illustrations became a psychic twin to the architectural fantasies of a little boy in the 'funnies' section of the New York newspapers from 1905-1911. Dreams of the Rarebit Fiend and Little Nemo in Slumberland continue to entertain and edify us, while inadvertently acting as a guide to how the imagination works. McCay's celebrity as a cartoonist also led him to become one of the world's first animators, amazing vaudeville audiences with depictions of Little Nemo that were suddenly larger than life, illuminated, and mobile. Dreams were rediscovered in the early twentieth century as useful bodies of knowledge for understanding the self, seen through the writings of Sigmund Freud, Henri Bergson and Marcel Proust, who linked the mechanisms employed by the unconscious 'dreamer' to those at play in wit. That thinking was surrounded by the atmosphere in McCay's comedic sequential images, which in turn inspired the iconic dreamlike silent movies of Buster Keaton. A look at the birth of these art forms a hundred years ago provides insight into the psychic mood of early modern Architecture, but also to the imagining of today's world (both material and virtual) using the digital tools that are just being invented. Although McCay's cartoons are fiendish, they sustain the balance between dreaming and humor that is essential to imagining a happy modern life.

L’architecte Claude Jean-Baptiste Jallier de Savault est une figure méconnue dont la redécouverte est relativement récente. Né en 1739 à Château-Chinon, il est élevé dans une famille bourgeoise de culture protestante. Au cours des années 1750, il s’installe à Paris et intègre l’agence de Jacques-Germain Soufflot, alors en pleine effervescence. Le cursus académique qu’il mène en parallèle de cette formation pratique, est couronné par deux seconds Prix en 1758 et en 1760. Soutenu par son maître et par Charles-Nicolas Cochin, il obtient un brevet d’élève architecte de l’Académie de France à Rome et séjourne au Palais Mancini en 1762. À son retour, il poursuit son apprentissage auprès d’Ange-Jacques Gabriel avant d’entamer une carrière au service des financiers d’Ancien Régime. Cette clientèle, à majorité protestante, lui offre l’opportunité de réaliser divers projets à Paris, mais également dans le nord-est du royaume, ainsi qu’en Suisse. Les dernières années du règne de Louis XVI, marquées par l’accession de Jacques Necker à la Direction générale des Finances, constituent le moment fort de sa carrière. Les deux succès publics qu’il remporte à cette époque (Place royale de Brest et hôtel de la Caisse d’escompte) ne voient pourtant jamais le jour, du fait des événements qui agitent le royaume. Après une parenthèse politique dans les premiers temps de la Révolution, il est employé par la Commission des travaux publics avant de devenir architecte des bâtiments civils sous le Directoire. Ce poste, qu’il occupe jusqu’à sa mort, en 1806, lui accorde un statut officiel qui constitue finalement l’aboutissement de la quête de légitimité qu’il mène tout au long de sa carrière. / The architect Claude Jean-Baptiste Jallier de Savault is an unsung figure whose rediscovery is relatively recent. Born in 1739 in Château-Chinon, he grew up in the Protestant milieu of a tradesman family. In the 1750s, he moved to Paris and joined the office of Jacques-Germain Soufflot, then at the height of its activity. The academic course he followed in parallel with this practical training was crowned by two second prizes in 1758 and in 1760. Supported by his master and Charles-Nicolas Cochin, he was accorded the status of a student architect of the Academy of France in Rome and resided at the Palais Mancini in 1762. Upon his return, he continued his apprenticeship with Ange-Jacques Gabriel before starting a career in the service of financiers of the Ancien Régime. This mostly Protestant clientele offered him the opportunity to carry out various projects in Paris, in thenorth-east of the kingdom, as well as in Switzerland. The last years of the reign of Louis XVI, marked by the accession of Jacques Necker to the Directorate General of Finance, was a propitious time in his career. Given thekingdom’s worsening political and financial situation, however, his two public commissions from this time (the Royal square of Brest and the Paris headquarters of the Caisse d’Escompte) were never built. After a brief engagement in political life in the early days of the Revolution, he was employed by the Public Works Commissionand subsequently became an architect of civil buildings under the Directory. With this post, which he held until his death in 1806, he finally gained something of the official status and legitimacy that had long eluded him.

[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/10251/188091 / TESIS

O conceito de desenvolvimento sustentável tem sido discutido nos setores da sociedade, buscando uma visão abrangente e integrada das melhorias e soluções para os crescentes problemas ambientais, sociais e econômicos. Como resultado, profissionais envolvidos com projetos de instituições de ensino superior vêm discutindo a inserção de práticas que minimizem os impactos gerados por suas construções de bibliotecas, principalmente quando é necessário estabelecer uma relação entre o edifício, a saúde dos ocupantes e a qualidade das atividades desempenhadas. Nesse sentido os sistemas de avaliação ambiental vêm sendo difundidos no Brasil, e por meio desses procura-se a conscientização quanto aos impactos ambientais gerados pelos edifícios durante as fases de planejamento, construção e operação. No entanto, o que incorporar como práticas que visem à sustentabilidade em projetos de bibliotecas universitárias? Para responder a esse questionamento, este trabalho utilizou-se de uma pesquisa bibliográfica para o levantamento dos conceitos considerados inerentes ao tema, assim como análise de projetos dentro da área em questão com princípios de sustentabilidade. Igualmente, foram estudados os critérios atuais presentes nos sistemas de avaliação ambiental, dentre os quais foram aprofundados o LEED, o AQUA - HQE e o PBE - Edifica. Através dessa análise, foram identificados os parâmetros utilizados de maneira que auxiliassem na proposição de diretrizes e, por meio de questionário aplicado aos usuários das bibliotecas da Universidade Tecnológica Federal do Paraná (UTFPR), buscou-se um aprofundamento das questões que implicam a qualidade desses espaços, verificando a incorporação de critérios, bem como as variáveis que fazem parte do processo de projeto. Finalmente, através dos conceitos apresentados ao longo do trabalho e do estudo das condicionantes, chegou-se à proposição das diretrizes, as quais visam orientar os arquitetos a incorporar os conceitos de sustentabilidade no planejamento e projetos de arquiteturas de bibliotecas universitárias. / The concept of sustainable development has been widely discussed in many sectors of society, aiming an integrated and comprehensive vision of improvements and solutions for the growing environmental, social and economic problems. As a result, professionals, working with projects in higher education institutions, have been discussing the inclusion of practices that minimize the impact caused by the construction of their own libraries, especially when it is necessary to establish a connection between the edification, the occupant health and the quality of performed activities. In this regard, the environmental assessment systems have been widespread in Brazil and through those we seek to raise awareness related to the environmental impact made by the buildings during the stages of planning, construction and operation. However, what incorporate as practices aimed at sustainability in university libraries Projects? To answer this, it was made a literature review to find the concepts inherent to the university libraries theme, as well as was analyzed projects within the area in question with greater sustainability features. Also, the current sustainability criteria presented in the evaluation systems were analyzed, among which were detailed LEED, AQUA-HQE and PBE-Edifica. Through this analysis we identified the parameters used in a way to assist in a proposition of sustainability guidelines and using a survey applied to the library users of the Universidade Tecnológica Federal do Paraná (UTFPR), we sought a deepening of the issues that imply the quality of these spaces by checking the incorporation of sustainability criteria as well as the variables that are part of the project process. Ultimately, through the ideas presented throughout the work, along with the study of conditions, we came to the proposition of guidelines for incorporating sustainability concepts in planning and architecture projects of university libraries.