By George Stiny
Fit, George Stiny argues that seeing shapes -- with all their changeability and ambiguity -- is an inexhaustible resource of artistic rules. knowing shapes, he says, is an invaluable option to comprehend what's attainable in design.Shapes are units for visible expression simply as symbols are units for verbal expression. Stiny develops a unified scheme that comes with either visible expression with shapes and verbal expression with indicators. The relationships -- and equivalencies -- among the 2 forms of expressive units make layout similar to different expert practices that count extra on verbal than visible expression. layout makes use of shapes whereas enterprise, engineering, legislation, arithmetic, and philosophy flip commonly to symbols, however the distinction, says Stiny, isn't really express. Designing is a manner of pondering. Designing, Stiny argues, is calculating with shapes, calculating with out equations and numbers yet nonetheless in response to principles. Stiny indicates that the mechanical means of calculation is absolutely an inventive procedure in the event you calculate with shapes -- in case you can cause together with your eyes, if you happen to discover ways to see rather than count.The ebook takes the belief of layout as calculation from mere heuristic or metaphor to a rigorous dating within which layout and calculation every one tell and increase the opposite. Stiny first demonstrates how seeing and counting vary for those who use principles -- that's, what it potential to calculate along with your eyes -- then exhibits easy methods to calculate with shapes, offering formal info. He provides useful purposes in layout with particular visible examples. The publication is terribly visible, with many drawings all through -- drawings punctuated with phrases. you should see this ebook with a purpose to learn it.
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Additional resources for Shape: Talking about Seeing and Doing
The words were ﬁne, but the ﬁgure looked odd, so I went to the source. The original was a right triangle like this and was possibly a mountain, among a host of other things. But the copy I’d seen ﬁrst was the rotation I suppose the triangle in this orientation looks like a mountain, too, yet it isn’t the same. For one thing, it’s higher. And it’s impossible to walk on both of its sides. Maybe it’s Gibraltar. No, it’s turned around, and the description ﬁts the original triangle better. Everything has changed.
In spite of its remarkable success in science and engineering—especially now in computer graphics, imaging, and visualization—the approach is ugly. But why not enjoy the results? Shapes made up of bits are ugly only underneath. What difference does it make? What I see is spectacular. Why am I so worked up? The idea that shapes are bits bothers me because it violates almost every intuition I’ve ever had about seeing. I want to use these intuitions and develop them as much as I can. I would like to ﬁgure out how they work when I look at shapes, so that I can utilize them effectively when I calculate.
In fact, there’s equivalence in verbal and visual expression, in the relationships between counting and seeing that I describe. (The prospect of ﬁxed rules without ﬁxed results is neat. Yet it may be pointless. There’s no guarantee I can say what these rules ﬁnally are. Looking at myself or anyone else seems scarcely different from looking at a shape. ’’) I started playing around with shapes and shape grammars when I ﬁnished my undergraduate studies, but it was a hobby. I was an economist at the time, developing models of urban growth.
Shape: Talking about Seeing and Doing by George Stiny