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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 Odpowiedz Link Zgłoś
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 Odpowiedz Link Zgłoś
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 Odpowiedz Link Zgłoś
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 Odpowiedz Link Zgłoś
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 Odpowiedz Link Zgłoś