This report is the second in a series of three reports named Value Added Planning, consisting of three unique, but interconnected tools, namely the Green Credit Tool, the Workbench Method and Value Added Planning, These tools have been developed and/or tested in the context of the European INTERREG programme: VALUE (INTERREG IVB North West Europe - Valuing Attractive Landscapes in the Urban Economy), in which the municipality of Amersfoort is involved. Aim of this programme is to understand how green space in urban centres can become more competitive with other urban functions. In this context, the municipality of Amersfoort has introduced the interactive method named Workbench Spatial Quality (Werkbank Ruimtelijke Kwaliteit in Dutch) in their spatial design in several areas in their municipality. The Workbench Spatial Quality (to be referred to as Workbench) has been applied on two cases in Amersfoort: Park Randenbroek and Vathorst NW. In this report the Workbench as applied in Amersfoort is evaluated. Research was done on the basis of literature research, case-material and interviews performed with several experts. Furthermore, research was done by students at the Wageningen University and Research Centre (WUR). Part of the evaluation in this report makes use of a quick scan of 19 Dutch cases. The question addressed in this report is: 1.How was the Workbench Spatial Quality applied in Amersfoort? 2.Can the Workbench contribute to sustainable spatial planning?
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The current multiple crisis require architects, designers, citymakers and stakeholders to re-think their approach to the city and territory, under the urge for a sustainable and inclusive future. While uncertainty and technocracy dominate, they also enable a open investigation and understanding of different future scenarios of spatial transformation. A revision of the term ‘adaptability’ promises to contribute to a new holistic approach.This paper presents the outputs of our current research project on adaptability at architectonic and urban level. It departs from the spatial disciplinary literature, and a large database of projects where this term plays a role implicitly or explicitly. We revisit theories and reposition them in the current unstable context. With this, we can enlarge the range of interactions and scales to approach simultaneously. Based on this, we propose new variables, and vocabularies in a framework for urban development beyond traditional confines.In fact, a new framework for the design of architectonic and urban space is articulated. It responds to different transformations of users’, usages’ and environmental conditions based on dimensions (scale, time, space), domains (social, economic, ecologic, climatic), adaptability ingredients (modularity, flexibility, interactivity, etc.), and resources (design by research, extreme scenario-thinking). We show them in action thought design projects conducted with students in the Netherlands and Belgium.We aim at generating holistic insights on the concept and methods of adaptability through some of the research and educational outcomes. Ultimately, we want to expand the mechanism of planning for an adaptive approach -from the building to the network, making lines of research, education and practice collide to address urgently needed changes.
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The historically developed practice of learning to play a music instrument from notes instead of by imitation or improvisation makes it possible to contrast two types of skilled musicians characterized not only by dissimilar performance practices, but also disparate methods of audiomotor learning. In a recent fMRI study comparing these two groups of musicians while they either imagined playing along with a recording or covertly assessed the quality of the performance, we observed activation of a right-hemisphere network of posterior superior parietal and dorsal premotor cortices in improvising musicians, indicating more efficient audiomotor transformation. In the present study, we investigated the detailed performance characteristics underlying the ability of both groups of musicians to replicate music on the basis of aural perception alone. Twenty-two classically trained improvising and score-dependent musicians listened to short, unfamiliar two-part excerpts presented with headphones. They played along or replicated the excerpts by ear on a digital piano, either with or without aural feedback. In addition, they were asked to harmonize or transpose some of the excerpts either to a different key or to the relative minor. MIDI recordings of their performances were compared with recordings of the aural model. Concordance was expressed in an audiomotor alignment score computed with the help of music information retrieval algorithms. Significantly higher alignment scores were found when contrasting groups, voices, and tasks. The present study demonstrates the superior ability of improvising musicians to replicate both the pitch and rhythm of aurally perceived music at the keyboard, not only in the original key, but also in other tonalities. Taken together with the enhanced activation of the right dorsal frontoparietal network found in our previous fMRI study, these results underscore the conclusion that the practice of improvising music can be associated with enhanced audiomotor transformation in response to aurally perceived music.
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Significant factors in the success or failure of energy transition arise from the spatial potential of places and their communities. Scenario planning appears to be an appropriate design instrument to enable architects to unveil, conceptualise, imagine, test and communicate this potential to stakeholders. This paper critically refelcts on the scenario as an architectural design instrument. Inscribed with political intentions, scenario planning may be a far from neutral design instrument. Instead of triggering communities to explore local energy potential, a scenario may have a normative effect on a community's imagination. The paper aims to define guidelines for the deployment of scenarios in an open, participatory planning process. To mediate in a local participatory planning process, we argue, scenarios should be situational, dynamic and open-ended, allowing or even triggering communities to (re)define the issues relevant to a place during the ongoing process of energy-transition. How, when and where should scenarios be deployed in order to enable communities to understand and develop their local energy potential?
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The realization of one’s musical ideas at the keyboard is dependent on the ability to transform sound into movement, a process called audiomotor transformation. Using fMRI, we investigated cerebral activations while classically‐trained improvising and non‐improvising musicians imagined playing along with recordings of familiar and unfamiliar music excerpts. We hypothesized that audiomotor transformation would be associated with the recruitment of dedicated cerebral networks, facilitating aurally‐cued performance. Results indicate that while all classically‐trained musicians engage a left‐hemisphere network involved in motor skill and action recognition, only improvising musicians additionally recruit a right dorsal frontoparietal network dedicated to spatially‐driven motor control. Mobilization of this network, which plays a crucial role in the real‐time transformation of imagined or perceived music into goal‐directed action, may be held responsible not only for the stronger activation of auditory cortex we observed in improvising musicians in response to the aural perception of music, but also for the superior ability to play ‘by ear’ which they demonstrated in a follow‐up study. The results of this study suggest that the practice of improvisation promotes the implicit acquisition of hierarchical music syntax which is then recruited in top‐down manner via the dorsal stream during music performance.
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Purpose: To establish age-related, normal limits of monocular and binocular spatial vision under photopic and mesopic conditions. Methods: Photopic and mesopic visual acuity (VA) and contrast thresholds (CTs) were measured with both positive and negative contrast optotypes under binocular and monocular viewing conditions using the Acuity-Plus (AP) test. The experiments were carried out on participants (age range from 10 to 86 years), who met pre-established, normal sight criteria. Mean and ± 2.5σ limits were calculated within each 5-year subgroup. A biologically meaningful model was then fitted to predict mean values and upper and lower threshold limits for VA and CT as a function of age. The best-fit model parameters describe normal aging of spatial vision for each of the 16 experimental conditions investigated. Results: Out of the 382 participants recruited for this study, 285 participants passed the selection criteria for normal aging. Log transforms were applied to ensure approximate normal distributions. Outliers were also removed for each of the 16 stimulus conditions investigated based on the ±2.5σ limit criterion. VA, CTs and the overall variability were found to be age-invariant up to ~50 years in the photopic condition. A lower, age-invariant limit of ~30 years was more appropriate for the mesopic range with a gradual, but accelerating increase in both mean thresholds and intersubject variability above this age. Binocular thresholds were smaller and much less variable when compared to the thresholds measured in either eye. Results with negative contrast optotypes were significantly better than the corresponding results measured with positive contrast (p < 0.004). Conclusions: This project has established the expected age limits of spatial vision for monocular and binocular viewing under photopic and high mesopic lighting with both positive and negative contrast optotypes using a single test, which can be implemented either in the clinic or in an occupational setting.
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Using fMRI, cerebral activations were studied in 24 classically-trained keyboard performers and 12 musically unskilled control subjects. Two groups of musicians were recruited: improvising (n=12) and score-dependent (non-improvising) musicians (n=12). While listening to both familiar and unfamiliar music, subjects either (covertly) appraised the presented music performance or imagined they were playing the music themselves. We hypothesized that improvising musicians would exhibit enhanced efficiency of audiomotor transformation reflected by stronger ventral premotor activation. Statistical Parametric Mapping revealed that, while virtually 'playing along' with the music, improvising musicians exhibited activation of a right-hemisphere distribution of cerebral areas including posterior-superior parietal and dorsal premotor cortex. Involvement of these right-hemisphere dorsal stream areas suggests that improvising musicians recruited an amodal spatial processing system subserving pitch-to-space transformations to facilitate their virtual motor performance. Score-dependent musicians recruited a primarily left-hemisphere pattern of motor areas together with the posterior part of the right superior temporal sulcus, suggesting a relationship between aural discrimination and symbolic representation. Activations in bilateral auditory cortex were significantly larger for improvising musicians than for score-dependent musicians, suggesting enhanced top-down effects on aural perception. Our results suggest that learning to play a music instrument primarily from notation predisposes musicians toward aural identification and discrimination, while learning by improvisation involves audio-spatial-motor transformations, not only during performance, but also perception.
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INAUGURAL LECTURE The world is in disarray. Species are extinct, climates are changing, we are becoming unhealthier.To liberate ourselves from this doom scenario we need to take care of ourselves and our environment. The solutions of former generations offer no future solace. Moreover, these caused the current problems. Instead of exploiting our environment for energy, resources and capacity we need to increase the potential for the recuperation of the environment, the planet and our minds. Instead of taking, giving!The reciprocity of the urbanized land we live in should be our main objective. The professorship Spatial Transformations - Sustainability will therefore design and plan for our physical and mentalcity and surroundings. This way the city becomes a purification machine for polluted water and acts as a net carbon sink. The city becomes a source of biodiversity, transformed into an urban nature reserve. Food will be produced that extends our lives. And wouldn’t it be nice to see the city as a place for contemplation so our mental abilities can grow instead of vegetating in dull offices? The city should offer people a healthy life, replenish resources and be beautiful. The professorship contributes to educating a new generation finding extraordinary solutions for current problems. With creativity, initiative and a healthy dose of disobedience this must work!
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Maritime Spatial Planning (MSP) is a politically guided and stakeholder-driven process involving a range of actors (i.e., planners, stakeholders, scientists, and citizens). Theories of boundary objects offer a lens to understand how actors, in the context of decision and policy-making in organizations, can coordinate without consensus. This seems particularly relevant when institutions and communities are relatively young, and the body of knowledge is fragmented and fluid, such as in the case of MSP. A key question is whether, and how boundary objects can be intentionally designed and used to facilitate social and policy learning in such communities. In this research, the focus is on the use of the MSP Challenge serious games as a boundary object to facilitate learning in ‘Communities of Practice’ (CoP) around MSP. Data were collected through questionnaires of 62 MSP Challenge workshops between 2016 and 2020 with more than 1100 participants. Additionally, 33 interviews with key stakeholders were conducted. The findings show that the MSP Challenge is widely used for various goals and in various settings and that they are interpreted differently by different users. The success of the MSP Challenge relies on the boundary space in which it is implemented, taking into account discrepancies in learning due to variations in the backgrounds and attitudes of the participants towards the object, the activity, and the setting in which it is deployed.
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