George Stiny-Shape Talking about Seeing and Doing-MIT Press (2006), Książki
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//-->ShapeTalking about Seeing and DoingGeorge StinyMIT PressCambridge, MA.2006© 2006 Massachusetts Institute of TechnologyAll right s reserved . No part of this book may be reproduced in any form by any electronic or me-chanical means (including photocopying, recording, or infonnation storage and retrieval) withoutpermission i n writing from th e publisher.MIT Press books may be purchased at special quantity discounts for business or sales promotionaluse. Fo r infonnation, pleas e email special_sales@mitpress.mit.ed u o r write to Special Sales Depart-ment, The MIT Press, 55 Hayward Street, Cambridge, MA 02142.This book was set in Stone Serif and Stone Sans by Asco Typesetters, Hong Kong.Printed and bound in the United States of America.Library of Congress Cataloguing-in-Publication Dat aStiny, George.Shape : talking about seeing and doing / George Stiny.p. cm .Includes bibliographical reference s and index.ISBN 0-262-19531-3 (alk. paper)1. Shapes—Design—Art. 2 . Geometrical models—Design—Art. 3 . Creation (Literary, artistic,etc.)—Mathematics. I . Title.QA445.S764 200 6745.4—dc22 20050438910 9 8 7 6 5 4 3 219ContentsAcknowledgmentsixINTRODUCTION: TELL ME ALL ABOUT IT1IWHAT MAKES IT VISUAL?61IISEEING HOW IT WORKS159IIIUSING IT TO DESIGN311NotesIndex391409AcknowledgmentsThis book is about drawing shapes and calculating by seeing. This takes a lot of doing,and I’ve had plenty of help to make it happen. A number of people have commentedon parts of this book with fresh and useful insights—alphabetically, Chris Earl, JimGips, Iestyn Jowers, Terry Knight, Lionel March, Bill Mitchell, Mine Ozkar, and SherryTurkle. But in many other ways, the following pages show the results of the conversa-tion Lionel March and I have had on design over the past twenty-five years. My realhope is that this book is just a preface to more seeing and doing, and talking aboutit in new ways. And then there are the figures, at least 1,126 of them by one countand more it seems by others. These computer drawings are almost entirely the workof Mine Ozkar—with the exception of a handful of scanned images, and JacquelynMartino’s ‘‘tadpole’’ in part I and ‘‘no ambiguity’’ sign in part II and part III. Withheroic intelligence and skill, Mine took my original pencil sketches and verbal descrip-tions through my continual changes to what’s printed on the page. At times theprocess must have seemed interminable, but she kept at it with enthusiasm and anundiminished sense that drawings are as important as words. And in fact, that’sanother way to approach this book. Drawing then looking meld seeing and doing—there are shapes and words calculating together in an open-ended process in whichyou’re always free to go on in your own way.I would also like to thank The MIT Press for its patience, and especially Doug Seryfor pushing softly but never doubting that it would all get done. A book like minewhere drawings are used like words is a huge commitment, and I’m truly grateful thatThe MIT Press was willing to take it on with a full measure of its resources.
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