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    • Gość: Jeszu Re: HOME FOR HOMELESS IP: *.cm-upc.chello.se 14.07.02, 04:25
      In a broad sense Design Science is the grammar of a language of image rather
      than words. Modern communication techniques enable us to transmit and
      reconstitute images without the need of knowing a specific verbal sequential
      language such as the Morse code or Hungarian. International traffic signs use
      international image symbols which are not specific to any particular verbal
      language. An image language differs from a verbal one in that the latter uses
      a linear string of symbols, whereas the former is multidimensional.

      Architectural renderings commonly show projections onto three mutually
      perpendicular planes, or consist of cross sections at different altitudes
      representing a stack of floor plans. Such renderings make it difficult to
      imagine buildings containing ramps and other features which disguise the
      separation between floors; consequently, they limit the creativity of the
      architect. Analogously, we tend to analyze natural structures as if nature had
      used similar stacked renderings, rather than, for instance, a system of packed
      spheres, with the result that we fail to perceive the system of organization
      determining the form of such structures.

      Perception is a complex process. Our senses record; they are analogous
      to audio or video devices. We cannot claim, however, that such devices
      perceive. Perception involves more than meets the eye: it involves processing
      and organization of recorded data. When we classify an object, we actually
      name an abstract concept: such words as octahedron, collage, tessellation,
      dome; each designates a wide variety of objects sharing certain
      characteristics. When we devise ways of transforming an octahedron, or
      determine whether a given shape will tesselate the plane, we make use of these
      characteristics, which constitute the grammar of structure.

      The Design Science Collection concerns itself with various aspects of
      this grammar. The basic parameters of structure, such as symmetry,
      connectivity, stability, shape, color, size, recur throughout these volumes.
      Their interactions are complex; together they generate such concepts as
      Fuller's and Snelson's tensegrity, Lois Swirnoff's modula
    • Gość: Jeszu Re: HOME FOR HOMELESS IP: *.cm-upc.chello.se 14.07.02, 04:25
      In a broad sense Design Science is the grammar of a language of image rather
      than words. Modern communication techniques enable us to transmit and
      reconstitute images without the need of knowing a specific verbal sequential
      language such as the Morse code or Hungarian. International traffic
    • Gość: Jeszu Re: HOME FOR HOMELESS IP: *.cm-upc.chello.se 14.07.02, 04:26
      In a broad sense Design Science is the grammar of a language of image rather
      than words. Modern communication techniques enable us to transmit and
      reconstitute images without the need of knowing a specific verbal sequential
      language such as the Morse code or Hungarian. International traffic signs use
      international image symbols which are not specific to any particular verbal
      language. An image language differs from a verbal one in that the latter uses
      a linear string of symbols, whereas the former is multidimensional.

      Architectural renderings commonly show projections onto three mutually
      perpendicular planes, or consist of cross sections at different altitudes
      representing a stack of floor plans. Such renderings make it difficult to
      imagine buildings containing ramps and other features which disguise the
      separation between floors; consequently, they limit the creativity of the
      architect. Analogously, we tend to analyze natural structures as if
    • Gość: Jeszu Re: HOME FOR HOMELESS IP: *.cm-upc.chello.se 14.07.02, 04:26
      In a broad sense Design Science is the grammar of a language of image rather
      than words. Modern communication techniques enable us to transmit and
      reconstitute images without the need of knowing a specific verbal sequential
      language such as the Morse code or Hungarian. International traffic
    • Gość: © Re: HOME FOR HOMELESS IP: *.cm-upc.chello.se 14.07.02, 04:26
      In a broad sense Design Science is the grammar of a language of image rather
      than words. Modern communication techniques enable us to transmit and
      reconstitute images without the need of knowing a specific verbal sequential
      language such as the Morse code or Hungarian. International traffic signs use
      international image symbols which are not specific to any particular verbal
      language. An image language differs from a verbal one in that the latter uses
      a linear string of symbols, whereas the former is multidimensional.

      Architectural renderings commonly show projections onto three mutually
      perpendicular planes, or consist of cross sections at different altitudes
      representing a stack of floor plans. Such renderings make it difficult to
      imagine buildings containing ramps and other features which disguise the
      separation between floors; consequently, they limit the creativity of the
      architect. Analogously, we tend to analyze natural structures as if nature had
      used similar stacked renderings, rather than, for instance, a system of packed
      spheres, with the result that we fail to perceive the system of organization
      determining the form of such structures.

      Perception is a complex process. Our senses record; they are analogous
      to audio or video devices. We cannot claim, however, that such devices
      perceive. Perception involves more than meets the eye: it involves processing
      and organization of recorded data. When we classify an object, we actually
      name an abstract concept: such words as octahedron, collage, tessellation,
      dome; each designates a wide variety of objects sharing certain
      characteristics. When we devise ways of transforming an octahedron, or
      determine whether a given shape will tesselate the plane, we make use of these
      characteristics, which constitute the grammar of structure.

      The Design Science Collection concerns itself with various aspects of
      this grammar. The basic parameters of structure, such as symmetry,
      connectivity, stability, shape, color, size, recur throughout these volumes.
      Their interactions are complex; together they generate such concepts as
      Fuller's and Snelson's tensegrity, Lois Swirnoff's modulation of surface
      through color, self-reference in the work of M. C. Escher, or the synergetic
      stability of ganged unstable polyhedra. All of these occupy some of the
      professionals concerned with the complexity of the space in which we live, and
      which we shape. The Design Science Collection is intended to inform a
      reasonably well educated but not highly specialized audience of these
      professional activities, and particularly to illustrate and to stimulate the
      interaction between the various disciplines involved in the exploration of our
      own three-dimensional, and in some instances more-dimensional, spaces.

      When R. Buckminster Fuller recalled his days as a schoolboy in Milton,
      Massachusetts, he related how his mathematics teacher would introduce two-
      dimensional surfaces by placing lines of zero thickness side by side; young
      Buckminster used to wonder how one could create a finite surface out of
      nothing. Similarly, he could not accept the stacking of planes of zero
      thickness to create volumes. Intuitively, he sensed that areas and volumes are
      as different from each other as are forces and velocities: one cannot mix
      quantities of different dimensionality. Accordingly, Fuller learned to compare
      three-dimensional object
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