Exploring Children's Stereotypes Through Drawings: The Case of Musical Performance

Drawings of 'a person' and of 'a person playing music' were collected from children aged seven to eight years and 10-11 years to discover whether children's musical representations would reflect gender differences evident in musical learning and performance, and the increased gender rigidity with age found in instrument preferences. As in previous drawing studies, same sex figures were overwhelmingly portrayed, although older girls drew more opposite sex figures than the other children. All except the older girls overwhelmingly drew same sex musicians irrespective of the gender stereotype of the instrument portrayed. The older girls drew similar numbers of male and female figures playing masculine instruments. Fewer feminine instruments were drawn by older than by younger boys. The increased gender rigidity with age accords with the results of the preference studies, but gender stereotyping was much weaker. This is discussed in relation to what the different methodologies measure.

Measurement and modelling of perceived slant in surfaces represented by freely viewed line drawings

Simple pictures under everyday viewing conditions evoke impressions of surfaces oriented in depth. These impressions have been studied by measuring the slants of perceived surfaces, with probes (rotating arrowheads) designed to respect the distinctive character of depicted scenes. Converging arguments indicated that the perceived orientation of the probes was near theoretical values. A series of experiments showed that subjects formed well-defined impressions of depicted surface orientation. The literature suggests that perceived objects might be flattened', but that was not the general rule. Instead, both mean slant and uncertainty fitted models in which slant estimates are derived in a relatively straightforward way from local relations in the picture. Simplifying pictures tended to make orientation estimates less certain, particularly away from the natural anchor points (vertical and horizontal). The shape of the object affected all aspects of the observed-object/percept relationship. Individual differences were large, and suggest that different individuals used different relationships as a basis for their estimates. Overall, data suggest that everyday picture perception is strongly selective and weakly integrative. In particular, depicted slant is estimated by finding a picture feature which will be strongly related to it if the object contains a particular regularity, not by additive integration of evidence from multiple directly and indirectly relevant sources.

FROM LINE-DRAWINGS TO IMPRESSIONS OF 3D OBJECTS - DEVELOPING A MODEL TO ACCOUNT FOR THE SHAPES THAT PEOPLE SEE

The interpretations people attach to line drawings reflect shape-related processes in human vision. Their divergences from expectations embodied in related machine vision traditions are summarized, and used to suggest how human vision decomposes the task of interpretation. A model called IO implements this idea. It first identifies geometrically regular, local fragments. Initial decisions fix edge orientations, and this information constrains decisions about other properties. Relations between fragments are explored, beginning with weak consistency checks and moving to fuller ones. IO's output captures multiple distinctive characteristics of human performance, and it suggests steady progress towards understanding shape-related visual processes is possible.

Application of Heuristic Evaluation Method by Universal Design Experts

This study highlights how heuristic evaluation as a usability evaluation method can feed into current building design practice to conform to universal design principles. It provides a definition of universal usability that is applicable to an architectural design context. It takes the seven universal design principles as a set of heuristics and applies an iterative sequence of heuristic evaluation in a shopping mall, aiming to achieve a cost-effective evaluation process. The evaluation was composed of three consecutive sessions. First, five evaluators from different professions were interviewed regarding the construction drawings in terms of universal design principles. Then, each evaluator was asked to perform the predefined task scenarios. In subsequent interviews, the evaluators were asked to re-analyze the construction drawings. The results showed that heuristic evaluation could successfully integrate universal usability into current building design practice in two ways: (i) it promoted an iterative evaluation process combined with multi-sessions rather than relying on one evaluator and on one evaluation session to find the maximum number of usability problems, and (ii) it highlighted the necessity of an interdisciplinary ad hoc committee regarding the heuristic abilities of each profession. A multi-session and interdisciplinary heuristic evaluation method can save both the project budget and the required time, while ensuring a reduced error rate for the universal usage of the built environments.

Full Irish: New Architecture in Ireland

Full Irish New Architecture in Ireland profiles 16 firms in the Republic of Ireland and Northern Ireland including photographs, drawings and text. Its publisher, Princeton Architectural Press, has won numerous international awards for highest quality academic and practice-based publications. The author was approached by the editors to write the book.

Confounds in pictorial sets: The role of complexity and familiarity in basic-level picture processing

Complexity is conventionally defined as the level of detail or intricacy contained within a picture. The study of complexity has received relatively little attention-in part, because of the absence of an acceptable metric. Traditionally, normative ratings of complexity have been based on human judgments. However, this study demonstrates that published norms for visual complexity are biased. Familiarity and learning influence the subjective complexity scores for nonsense shapes, with a significant training x familiarity interaction [F(1,52) = 17.53, p <.05]. Several image-processing techniques were explored as alternative measures of picture and image complexity. A perimeter detection measure correlates strongly with human judgments of the complexity of line drawings of real-world objects and nonsense shapes and captures some of the processes important in judgments of subjective complexity, while removing the bias due to familiarity effects.

Travelling Images, Images of Travel in Nicolas Bouvier's L'Usage du monde

Sketches and photographs are a familiar tool of the traveller-writer, who commonly draws on them when transforming experience into a textual narrative. The verbal thus displaces the visual — the latter retained, if at all, as mere illustration — in ways that echo James Heffernan's definition of ekphrasis as the ‘verbal description of visual representation’. Yet Nicolas Bouvier's 1963 travel narrative L'Usage du monde challenges conventional conceptions of ekphrasis. Juxtaposing the stark ink drawings of Thierry Vernet — Bouvier's travelling companion — with Bouvier's textual narrative, L'Usage du monde shifts representation away from a hierarchical relationship between verbal and visual; it offers instead an account of other cultures that is grounded in polyphony and exchange. This article applies Bouvier's own image of travel as a mosaic to the dual narrative form (or ‘iconotext’, to use Michael Nerlich's term) in order to consider a range of fluid relationships between Bouvier's text and Vernet's drawings. In examining these relationships of amplification, reduction, and absence, the article argues that the plurality of the narrative prompts a rethinking of conventional, binary paradigms of intercultural contact. Ultimately, the iconotextual nature of L'Usage du monde can be interpreted as a metaphor for the processes of cultural translation and transculturation that are central to Bouvier's travelling ethos.

The Casual Buttress:Certainty and Contingency in the Study of the Vernacular

Impromptu accretions such as the buttresses in Robin Walkers photograph are moments that are familiar in the architecture of the everyday. Indeed the buttress is a very common occurrence with these cottages in particular, their mud walls being poor at resisting concentrated lateral loading. While not always required the buttress emerges when requirements to create spaces to support inhabitation are at odds with the external form and construction of the buildings. These points of disjunction are resolved in an additive fashion externally. The location varies from structure to structure, occasionally the buttress is be used as a point of connection for further structures, becoming subsumed in outbuildings or walls. This preponderance to variety means that it is omitted from the reductive drawings of type that classify these buildings and yet it occurs in enough for it to have a fundamental and transformative relationship to the generality of cottages.
What is of interest is not so much what these structures hold in common, but rather what differentiates them. It is their capacity for variety within a defined range which allows them at once to speak at once of broader social structures and of a specific place and person.
Using the above observation this paper treats of the failure of architectural typological studies of the vernacular to derive anything other than formal exemplars, and posits an alternative approach based on a focus on the technical construction of such buildings.

The MAC

The document will present the design of the MAC as a research output with a summary of key aspects of the design. Photography and drawings will be included, along with appendices which will include information on key published articles about the building, and other written outputs by the author.

Shifting Ground:Beyond National Architecture

The Irish Pavilion at the Venice Architecture Biennale 2012 charts a position for Irish architecture in a global culture where the modes of production of architecture are radically altered. Ireland is one of the most globalised countries in the world, yet it has developed a national culture of architecture derived from local place as a material construct. We now have to evolve our understanding in the light of the globalised nature of economic processes and architectural production which is largely dependent on internationally networked flows of products, data, and knowledge. We have just begun to represent this situation to ourselves and others. How should a global architecture be grounded culturally and philosophically? How does it position itself outside of shared national reference points?
heneghan peng architects were selected as participants because they are working across three continents on a range of competition-winning projects. Several of these are in sensitive and/or symbolic sites that include three UNESCO World Heritage sites, including the Grand Egyptian Museum in Cairo, the Giants Causeway Visitor Centre in Northern Ireland, and the new Rhine Bridge near Lorelei.
Our dialogue led us to discussing the universal languages of projective geometry and number are been shared by architects and related professionals. In the work of heneghan peng, the specific embodiment of these geometries is carefully calibrated by the choice of materials and the detailed design of their physical performance on site. The stone facade of the Giant’s Causeway Visitor Centre takes precise measure of the properties of the volcanic basalt seams from which it is hewn. The extraction of the stone is the subject of the pavilion wall drawings which record the cutting of stones to create the façade of the causeway centre.
We also identified water as an element which is shared across the different sites. Venice is a perfect place to take measure of this element which suggests links to another site – the Nile Valley which was enriched by the annual flooding of the River Nile. An ancient Egyptian rod for measuring the water level of the Nile inspired the design of the Nilometre - a responsive oscillating bench that invites visitors to balance their respective weights. This action embodies the ways of thinking that are evolving to operate in the globalised world, where the autonomous architectural object is dissolving into an expanded field of conceptual rules and systems. The bench constitutes a shifting ground located in the unstable field of Venice. It is about measurement and calibration of the weight of the body in relation to other bodies; in relation to the site of the installation; and in relation to water. The exhibit is located in the Artiglierie section of the Arsenale. Its level is calibrated against the mark of the acqua alta in the adjacent brickwork of the building which embodies a liminal moment in the fluctuating level of the lagoon.
The weights of bodies, the level of water, changes over time, are constant aspects of design across cultures and collectively they constitute a common ground for architecture - a ground shared with other design professionals. The movement of the bench required complex engineering design and active collaboration between the architects, engineers and fabricators. It is a kind of prototype – a physical object produced from digital data that explores the mathematics at play – the see-saw motion invites the observer to become a participant, to give it a test drive. It shows how a simple principle can generate complex effects that are difficult to predict and invites visitors to experiment and play with them.

House at Bogwest in County Wexford, Ireland by Steve Larkin Architects

Publication associated with AR House awards 2012 by the Architectural Review. Text includes citation by Jury and based on interview / text with Steve Larkin. Drawings by Steve Larkin and photographs by Alice Clancy.