Bringing the German Pavilion Back Home

<p>This research investigates a correspondence between the architectural representational tool of drawing, and the translations of these into something recognised as ‘built’. It is fundamentally concerned around representation in architecture driven by the principles that our entire engagement with architecture is via representation. Architects do not produce buildings but produce images of buildings, and the role of two-dimensional representation plays a principal part in architecture. Architecture is always representational, and the more we engage with representation the more we might push the envelope with what we understand architecture to be. This thesis aims to establish within the contemporary discipline, what we understand about the responsibility of linear perspective as a representational tool. By understanding what lies behind the canon of perspective in architecture, this thesis questions whether the representation of conventional architecture could benefit from a new way of drawing linear perspective? The discovery of perspective during the Renaissance has influenced not only our way of representing architecture but also how we view, and therefore design it. It has become integrated with our understanding of architecture at an unconscious level. Architects no longer need control of projective geometry, and due to this cannot be critical of the system of representation or control its limits. This leads to mediate a shift in perspective, with the intention to generate a representation of new form. The motivation for this thesis was that from linear perspective, as it has done so for centuries, we can produce evocative and meaningful vocabularies that attempt to enrich architecture.</p>

Bringing the German Pavilion Back Home

<p>This research investigates a correspondence between the architectural representational tool of drawing, and the translations of these into something recognised as ‘built’. It is fundamentally concerned around representation in architecture driven by the principles that our entire engagement with architecture is via representation. Architects do not produce buildings but produce images of buildings, and the role of two-dimensional representation plays a principal part in architecture. Architecture is always representational, and the more we engage with representation the more we might push the envelope with what we understand architecture to be. This thesis aims to establish within the contemporary discipline, what we understand about the responsibility of linear perspective as a representational tool. By understanding what lies behind the canon of perspective in architecture, this thesis questions whether the representation of conventional architecture could benefit from a new way of drawing linear perspective? The discovery of perspective during the Renaissance has influenced not only our way of representing architecture but also how we view, and therefore design it. It has become integrated with our understanding of architecture at an unconscious level. Architects no longer need control of projective geometry, and due to this cannot be critical of the system of representation or control its limits. This leads to mediate a shift in perspective, with the intention to generate a representation of new form. The motivation for this thesis was that from linear perspective, as it has done so for centuries, we can produce evocative and meaningful vocabularies that attempt to enrich architecture.</p>

Visualization of Hidden Structure and Shape in Ct Image via Non-Linear Perspective Foreground and Back Ground Projection

The neurologist analyse the brain images to diagnose the disease via structure and shape of the part in the scanned Medical images such as CT, MRI, and PET.The Medical image segmentation perform less in the regions where no or little contrast,artefacts over the different boundary regions. The manual process of segmentation show poor boundary differentiation dueto discernibility in shape and location, intra and inter observer reliability. In this paper, we propose a dyadic Cat optimization (DCO) algorithm to segment the regions in the brain from CT and MRI image via Non- linear perspective Foreground and Back Ground projection. The DCO algorithm remove the artefacts in the boundary regions and provide the exact structure and shape of the brain regions. The DCO algorithm show the region boundary such as plerygomaxillary fissure, occipital lobe, vaginal process zygomatic arch, maxilla and piriform aperture with high visibility in the regions of inadequately visible boundary and distinguish the deformable shape. The DCO algorithm show the increased SSIM and 90 percent accuracy.

The Autobiographical Hinge: Revealing the self in architectural drawing

Some argue that the tendency to ignore the self as an aspect of the relationship between architects and their drawings is a consequence of the hegemony of digital modes of representation, others that it is inherent to traditional perspectival and projective techniques. It is in this repressive context that architects struggle to consider their subjectivity in relation to the drawings they produce. This article aims to divert this subjective distance by proposing a method for revealing the unconscious forces that abide between architects and architectural drawings. Through a comparative analysis of this intermediate space with the psychoanalyst Donald Winnicott’s theory of the Transitional Object, the author considers his own relationship to perspective drawing and materializes this through the production of a drawing apparatus titled: the autobiographical hinge. Bilaterally, the conception of this drawing apparatus is founded on examples of visual art practice that challenge the repressive qualities of linear perspective, this includes the work of Penelope Haralambidou (2003); Lawrence Gowing (1965) and Marion Milner (1950). In a time of dissolved agency for the architect, this article presents a method through which to mine one’s own relationship to architectural drawing, through which a disturbance to those codified regimes occurs as a consequence of one’s own subjectivity being recognized.

Drawing in Perspective: A Proposition for a Discursive Architecture in the Age of Digital Representation

<p>Contemporary architectural practise has come to depend upon digital representation as a means of design and for the production of architectural drawings. The computer is common place in architectural offices, relegating the drawing board as a machine of the past. Today, the architect is more likely to draw with a mouse than a mechanical pencil. The proposition of this research suggests such a dramatic shift within representational technology will not only affect how architects design, but also, what they design. Digital modes of architectural representation are reliant on mathematical code designed to artificially simulate visual experience. Such software offers strict alliance with a geometrically correct perspective code making the construction of perspective as simple as taking a ‘snap shot’. The compliance of the digital drawing to codes prescribed by a programmer distance the architect from the perspectival representation, consequently removing the architect’s control of the drawing convention. The universality of perspectival views is enforced by computer programmes such as Google Sketch-Up, which use perspective as a default view. This research explores the bias of linear perspective, revealing that which architects have forgotten due to a dependence on digital software. Special attention is drawn to the lack of control the architect exerts over their limits of representation. By using manual drawing the perspective convention is able to be unpacked and critiqued against the limitations of the system first prescribed by Brunelleschi. The manual drawing is positioned as a powerful mode of representation for it overtly expresses projection and the architect’s control of the line. The hand drawing allows the convention to be interpreted erroneously. The research is methodology driven, focusing on representation as more than a rudimentary tool, but a component of the design process. Thus, representational tools are used to provide a new spatial representation of a site. Computer aided design entered wide spread architectural practice at the end of the 1980’s, a decade that provided an ideal setting for speculative drawn projects. Such projects proved fruitful to architects critically approaching issues of representation and drawing convention, treating the drawing as more than utilitarian in the production of architecture. Whilst the move into digital imagining is not a paradigm shift for the act of drawing, it fundamentally shifted the way architects draw, separating drawing conventions onto visually separate ‘sheets’. The architectural drawing known today was that discovered in the Renaissance, Renaissance architects, the first to conceive of architecture through representation, thus was their endeavour to produce a true three dimensional image. The Renaissance architect executed absolute control of perspective, control, which has since defined the modern architect. Positioned within research by design, the ‘drawing-out’ process is a critical interpretation of perspective. In particular the drawing of instrumental perspective is unpacked within the realm of scientific research. The picture plane, horizon line and ground plane remain constant as the positions of these are well documented. The stationary point, vanishing point (possibly the most speculative components of the drawing) or the relationship between the two, behave as independent variables. In breaking the assumptions that underlie linear perspective as a fixed geometric system we may ask ourselves if we are in control of representational methods, or if they control us. Since architects are controlled by their means of representation this question is paramount to the discipline, particularly today, when digital drawing has shifted the relationship between architect and representation. The implications of this new relationship may result in monotony across the architectural disciple, where the production of critical architecture is secondary to computer technology.</p>

Drawing in Perspective: A Proposition for a Discursive Architecture in the Age of Digital Representation

<p>Contemporary architectural practise has come to depend upon digital representation as a means of design and for the production of architectural drawings. The computer is common place in architectural offices, relegating the drawing board as a machine of the past. Today, the architect is more likely to draw with a mouse than a mechanical pencil. The proposition of this research suggests such a dramatic shift within representational technology will not only affect how architects design, but also, what they design. Digital modes of architectural representation are reliant on mathematical code designed to artificially simulate visual experience. Such software offers strict alliance with a geometrically correct perspective code making the construction of perspective as simple as taking a ‘snap shot’. The compliance of the digital drawing to codes prescribed by a programmer distance the architect from the perspectival representation, consequently removing the architect’s control of the drawing convention. The universality of perspectival views is enforced by computer programmes such as Google Sketch-Up, which use perspective as a default view. This research explores the bias of linear perspective, revealing that which architects have forgotten due to a dependence on digital software. Special attention is drawn to the lack of control the architect exerts over their limits of representation. By using manual drawing the perspective convention is able to be unpacked and critiqued against the limitations of the system first prescribed by Brunelleschi. The manual drawing is positioned as a powerful mode of representation for it overtly expresses projection and the architect’s control of the line. The hand drawing allows the convention to be interpreted erroneously. The research is methodology driven, focusing on representation as more than a rudimentary tool, but a component of the design process. Thus, representational tools are used to provide a new spatial representation of a site. Computer aided design entered wide spread architectural practice at the end of the 1980’s, a decade that provided an ideal setting for speculative drawn projects. Such projects proved fruitful to architects critically approaching issues of representation and drawing convention, treating the drawing as more than utilitarian in the production of architecture. Whilst the move into digital imagining is not a paradigm shift for the act of drawing, it fundamentally shifted the way architects draw, separating drawing conventions onto visually separate ‘sheets’. The architectural drawing known today was that discovered in the Renaissance, Renaissance architects, the first to conceive of architecture through representation, thus was their endeavour to produce a true three dimensional image. The Renaissance architect executed absolute control of perspective, control, which has since defined the modern architect. Positioned within research by design, the ‘drawing-out’ process is a critical interpretation of perspective. In particular the drawing of instrumental perspective is unpacked within the realm of scientific research. The picture plane, horizon line and ground plane remain constant as the positions of these are well documented. The stationary point, vanishing point (possibly the most speculative components of the drawing) or the relationship between the two, behave as independent variables. In breaking the assumptions that underlie linear perspective as a fixed geometric system we may ask ourselves if we are in control of representational methods, or if they control us. Since architects are controlled by their means of representation this question is paramount to the discipline, particularly today, when digital drawing has shifted the relationship between architect and representation. The implications of this new relationship may result in monotony across the architectural disciple, where the production of critical architecture is secondary to computer technology.</p>

Deep phylogenetic-based clustering analysis uncovers new and shared mutations in SARS-CoV-2 variants as a result of directional and convergent evolution

Nearly two decades after the last epidemic caused by a severe acute respiratory syndrome coronavirus (SARS-CoV), newly emerged SARS-CoV-2 quickly spread in 2020 and precipitated an ongoing global public health crisis. Both the continuous accumulation of point mutations, owed to the naturally imposed genomic plasticity of SARS-CoV-2 evolutionary processes, as well as viral spread over time, allow this RNA virus to gain new genetic identities, spawn novel variants and enhance its potential for immune evasion. Here, through an in-depth phylogenetic clustering analysis of upwards of 200,000 whole-genome sequences, we reveal the presence of not previously reported and hitherto unidentified mutations and recombination breakpoints in Variants of Concern (VOC) and Variants of Interest (VOI) from Brazil, India (Beta, Eta and Kappa) and the USA (Beta, Eta and Lambda). Additionally, we identify sites with shared mutations under directional evolution in the SARS-CoV-2 Spike-encoding protein of VOC and VOI, tracing a heretofore-undescribed correlation with viral spread in South America, India and the USA. Our evidence-based analysis provides well-supported evidence of similar pathways of evolution for such mutations in all SARS-CoV-2 variants and sub-lineages. This raises two pivotal points: the co-circulation of variants and sub-lineages in close evolutionary environments, which sheds light onto their trajectories into convergent and directional evolution (i), and a linear perspective into the prospective vaccine efficacy against different SARS-CoV-2 strains (ii).

A Virtual Space Built on a Canvas Painting for an “Augmented” Experience to Catch the Artist’s Message

“Entering” a canvas to examine and learn about the work from unexplored points of view is an experiential “journey” in an environment reconstructed through the use and integration of innovative technologies, such as descriptive geometry and digital photogrammetry, solid modeling and immersive photography. Generating a “sense of presence” in the viewer means connecting it with immediacy to the artist’s message and grasping even the most subtle elements of the painting that are difficult to understand, such as architectural inconsistencies or the play of perspectives that, very often, bring out the situations scripted, characterized by discoveries that prelude to the aesthetic pleasure as the multiplicity of meanings and the “stylistic overcoding” of the work is revealed. The research hypotheses were applied to a case study, or to the splendid “Last Supper” by the Flemish artist Gaspar Hovic, a canvas painted in oil (late 15th century AD) and kept in the Matrice SM Veterana Church di Triggiano (BA), where the representation of the suggestive moment of Jesus with the Apostles is carried out through numerous symbols, in an evocative architectural context rich in details. The pictorial subject provides a series of very interesting ideas suitable for research of the role of perspective. The inverse method of linear perspective was used to reveal the plants and sections corresponding to the perspective space of the painting, used as the basis for the reconstruction of the 3D model of the entire scenic composition. Although the painting represents the apparently rigorous application of the perspective technique, by “entering” the canvas it is possible to observe some exceptions to the geometric rules deliberately introduced by the artist, thus making the perspective restitution process an effective interpretative act of the work.