The secret language of form van james,who called me from this mobile number,the secret language of birthdays september 5 - Reviews

20.06.2015

Why does Design so often struggle to communicate its value to the world, when it's something we all recognize? The design language of these SUVs epitomized the notion of purposefulness, even when comparing the utilitarian nature of the original Land Rover with its glitzy new cousin the LR3 Discovery. The Periodic Table of FormIs Design merely inspiration's anatomy without reason or rationale, or is this rooted in some universal truth? No matter how much our mind wants to control the conversation, we will miss out on at least half of the story if we don't recognize and honor our emotional side of our being. As designers we should always consider meaning through form, but it should be targeted on a cultural level - not only using 'universal' signs that perhaps don't mean anything to our consumers.
I enjoyed this expression of defining design intention and the CAD relationships (this is my main profession). Its early days for CAD, its great fun, we love the button pressing, the shiny impressive renders, the WOW factor. While I enjoyed the ideas presented in this article, I have to admit the attempt at scientific method fell flat.
If Gehry can keep cranking our amorphous shapes digitized by his staff then Gaudi would have a field day.
One of the biggest things that is bothering me about the article is that the yin-yang is wrong. Going back to the article, the tangential continuity refers only to uniform fillets and continuity of curvature refers to blends.
As for the article, the point is valid if not obvious that tangential relationships don't exist in nature and are less interesting.
Reading the comments I found two related questions: shouldn't emotion be "allowed" to use conceptual tools to conform products? Forgive me Gray, but after reading your pitch here I felt as mentally mugged as I do after some art openings.
Although engineering is mathematically based (linear versus non-linear thinking), it's not necessarily a measurable process in terms of value either.
Perhaps we can agree that the human response and emotional connections (real and perceived) to both product solutions and brands typically won't be made if they aren't also properly engineered, marketed, and placed. The real irony is not you're three-level definition of surface continuity from the engineering CAD lexicon: Positional, Tangential, and Curvature, it's that you've simply relabeled and illustrated the same 3 tried-and-true shape groups used by designers (artisans and engineers) for centuries. So, why does Design so often struggle to communicate its value to the world, when it's something we all recognize? We each perceive it differently due in part to our cumulative individual experiences and attitude about design in the context of our lives. The company slogan "Hypnosis You Can Believe In!" is trademarked by the Banyan Hypnosis Center for Training & Services, Inc. When I was in high school, my friends and I went through a phase where we were really into astrology. Fortunately my boyfriend keeps me grounded and is one of the most level-headed people I know. I was selected for this opportunity as a member of Clever Girls Collective and the content and opinions expressed here are all my own. When we speak of product development, we frequently look at the domains of Design and Engineering separately, evaluating them in different ways.
Remarkable is the same functional character of the CV 22 Osprey; one would think that the laws of aerodynamic would solely determine this airplane's shape--no industrial design team sketched up this form language--yet one can plainly see the utilitarian message of this vehicle expressed in its form. Can we apply a scientific method of measure, and give order to form's relationship with meaning? Our approach is to merge and hybrid this by using the 'best of both worlds' assisting Design-(ers) and CAD Design Engineers to create tools to support their activities. The only denotative language is mathematics, for every other language (design included) we are dealing with meaning and representation. Find out about the cultural world of your target group and try to design for them to find meaning in your design.
Basically how the surfaces and its properties will be stands for Good Design, as well good quality of life.
If I write a lengthy article about giraffes, going into detail about their grey skin, long noses, large ears, and huge tusks, should I expect your support? As a teacher for 30 years with 10 years teaching CAD to industrial designers the effect of CAD on forms that students develop is significant. I wonder if Gray has considered developing another taxonomy that is tuned to the characteristics of human perceptual systems -- take it into the realm of Gibsonian affordances and not pure aesthetics. I think that the more we quantify, the more we tend to think that we have hit the nail on the head.
Working with shapes in morphology, by hand, by cad and mixing them is an interesting opportunity of our times. If you boil it down further, tangential relationships require straight lines which are figments of our imagination and don't occur in nature. What happens if we speak of putting together instead of replacing emotion by rational thinking, or the other way round? Buried here is an attempt to persuade a deeper understanding and goal to define the intangible value of design which is commendable. In fact, I've always had a profound appreciation for the intellect applied to the function and production of everyday products that is never seen, felt, or advertised. We're involved in a commercially-driven pursuit and (like it or not) the real quantifiable value of design is generally determined by successful repeat sales and that can be difficult to predict.
My experience tells me that it is the collaboration of individual personalities, business disciplines, market forces, and economic climates that has the greatest an effect on that gauge. And although I appreciate your theory, passion for design, and creative writing, I also believe there's something universal to be said about simply being more succinct - especially when seeking more professional credibility. It is that magic which happens during the combined experience of moving one's hands through space while visualizing a form. Isn't the statement that no tangential relationships exist in nature really because there are no straight lines in nature? We'd camp out at Borders and read books on it in their cozy reading nooks (looking back on it, they probably went out of business because of non-paying avid readers like us), flipping through the pages, comparing compatibilities with each other and our boyfriends. I'd like to think I'm not that difficult in my personal relationships, but my boyfriend might say otherwise.


Stepping into the terrain of product design, we see a different distribution of this continuity landscape.
While struggling to come up with some concrete examples to these questions, the team at Alchemy Labs decided to "make" some generic widgets to illustrate our collective thoughts on this matter. We need to embrace the completeness of the being of form, by more consciously and thoroughly understanding it, and not focus merely on only the consciously measured half of the story. Especially when learning CAD for the first time, students are intimidated and will design things that they can build easily in CAD.
If you confuse Eliot Noyes with Dieter Rams, should I just say "well, they're kind of the same"?
But the fact remains, as Mike Henley also says, that perception of a design is far more than surfaces.
I think it is a powerful instrument that is not intended only to produce better or worse drawings. And I don't think it is a sequence, the order is not linear but that complex order of our design thinking. No use making a very cool looking can opener that doesn't open cans or a cool looking building that leaks like crazy, Frank Ghery.
Aesthetically speaking, tangential design communicates functionality and efficiency and defintiely has it's place.
However, this is exactly the type of superfluous essay that perpetuates design to many people and other essential commercial disciplines as too self-important, elite, and aloof. A case in point might be the trip to the emergency room after my nine-year-old (not having grown-up in the Amazon) played with a poison dart frog. Fundamentally, with or without prevailing style trends and tools aside, it is the carefully balanced application of each of these form groups in the finished product that contribute to the potential value and appeal of an object. By visiting the site, you can discover your and your friends' Secret Language Names and 18 of their strengths and weaknesses. This gives the former an inherent advantage: engineering efforts are easily quantifiable, and this provides them with authority. We started with a deceivingly functional form: a simple shape that, to fool the viewer's eye, looked like it did something, but in fact has no function at all. This simple yet open structure hopes to create a dialogue between the heart and mind, in form in particular, but in ourselves primarily (by the necessity of our task). I studied industrial design in the mid 90's and it was fascinating to me the different focusses that students had on the design education and profession. The point is that CAD generally has put a limitation on designers to design things that they can easily input into CAD. It really makes you think of all the relationships formed by what has been stated in the article. So imagine my excitement (and nostalgia) when I found out that The Secret Language book now has a complementary website that can tell you amazing things about yourself and your friends based on your birthdate. Design is intuitive, working on the non-verbal levels of our experience, sometimes triggering our most subversive emotional states; this makes it difficult to evaluate empirically. Perhaps someone can give me an example of a form that communicate danger for a specific group of people living in a city? For some it was all about hand rendering skills and how beautifully they could present an idea.
After a while neither notices as they start to imagine forms that will look best on screen. Ghery's buildings would be quite different had he started designing them in CAD rather with hand drawn gesture sketches.
Also I fail to see why tangential forms 'look lazy' just because they are easy to apply in a software. When you use not uniform fillets you design the shape of the surface that will connect them. The extent of limitation depends on the CAD package and some discussed in the article allow for very complex curvy shapes and ease of control. The author suggests that tangential relationships are overused and used in the wrong context due to designers being lazy and doing whatever is easiest to input into CAD. I had always imagined how the form would have evolved past 1979 with new technology and design tools. I will probably print this out at some point just to have it to read over again on my quest for more knowledge on the effects of shapes on emotion responses versus the functionality of a shape. Lacking an analytical vernacular, Design is labeled subjective, when it is actually the agent of universal truth through form. And clumped on top of each other in the middle are the majority of Tangential consumer products.
Then, in Darwinian fashion, we cross-pollinated these central forms to create hybridized form statements. What I'm trying to get at, is that these discussions about form and design always come back to nature. I wish the new Beetle designers had spent a little more time sculpting clay before they started CADing. My point is that there is something more human and more intuitive about dragging a pencil across a sheet of paper and feeling the friction as you draw. I really wanted to like the new one but I am completely disappointed because it is so CAD affected. The dialog that a sculptor has with a mound of clay or a sketch artist with pencil and paper is direct and immediate with no translation to computer commands in between (not to mention the nagging fear of a crash before saving). The consequences of interacting with the array of sharp spines on a sea urchin or porcupine are pretty obvious to any creature passing by--you don't need a pair of frontal lobes to understand this.For the consumer, it's easy to forget how much the emotional response to an object determines his or her relationship to it, but this forgetfulness can be plausibly explained by the dominant role our analytical mind plays in formulating language. There is a profound laziness to the execution of these products, especially when compared to the beauty of diversity found in nature.Now here's the rub: How many of these are appropriately utilizing the form language of utility and how many are not?
The result is the beginning of a kind of Periodical Chart of Forms that can be parsed for their associated Meanings. Thinking only about what you are drawing not about what command you need to make the shape you want.
It's form loses appeal very quickly as you move around it whereas the original you can walk around 10 times and still want to see it from the other end. Because it is able to say it's in charge, as the executor of structured argument, the analytical mind generally convinces us that it is in fact the authority.


How many are tangentially sculpted because of the tools of creation (tangent-restricted solid modeling software)? Like the Periodic Table of the Elements, this system holds ample opportunity for mixing proportions, creating alloys, and adding impurities.
When you are sketching, you are not concious of telling your hand to move up and to the left and at what degree and at what radius. Otherwise, expect more boring Beetle, Cinquecento and Mini re-hashes and less fresh exciting forms.
Reasoning therefore holds higher status, and emotional reactions are easy to dismiss as immature or irrational. These mutually arising, mutually "designing" attributes of nature tell a story of the effect of form on life itself, which predates the defining nature of our verbal language. We propose that this visual paradigm has room to house all the things that have been, and the things yet to be.
This poses a very real barrier to the acceptance of design as a source of value in product development; enough that it's worth examining alternate ways of evaluating design, transcending this subjective view to create a more universal system of measure.
In our language-based society though, it is the power of visual design and subsequent eloquence of non-verbal communication can easily escape us. The DeWalt drill of course is right on the mark, the Emeco Navy Chair absolutely shouts utility, and all of the Dyson vacuums are Tangent porn as far as I can tell--functional engineering taken to a styled perversity--but it is the hoards of cell phones, MP3 players, computers, and multitudes of consumer electronics that lack much distinction or differentiation from each other. Once established, we can test the paradigm with some concrete samples, validating it through blending the 3 levels and then deconstruct their complex hierarchical meaning. Form has meaning; it can touch us at such a primal level that our mind is left scrambling to rationalize our emotional reactions. Conspicuous is the nearly complete absence of tangential forms in nature.If there is an empirical meaning behind form then, how does it manifest across the natural and into the man-made world?
It's interesting to see these two products side by side, the 2001 PowerBook now seems a bit simplistic in comparison to the 2008 MacBook Pro.We start with the F-22 Raptor, the newest fighter in the US Air Force arsenal.
Sometimes you draw something you hadn't planned on and you like it better than what you had planned. Consider the visceral impression conveyed by a natural setting: The deep serenity felt, for example, while walking through a majestic grove of redwoods. Going further with this notion, let's deconstruct the meaning of form naturally, and then distill that meaning into some simplified geometric categories technically.
You could easily argue that a majority of products are primarily tools of purpose, and thus Tangent is their true form language. This jet's integration of stealth technology and slippery aerodynamics is faithfully expressed in its contrasting angular Positional silhouette and graceful Curvature control surfaces. Then there were the closet artists who really wanted to be in the fine arts program but didn;t believe thewy coudl make a livign at art. That process is a dialog that desingers can have with themselves and with what is happening on the page in front of them immediately and directly with no translation required.
The delicate lace of fern fronds wave as you drag your hand through them as you walk, and your heart jumps into your throat when startled by a deer caught wondering across the trail. Unfortunately, too many products are unconsciously executed with the engineering tools at hand, instead of looking for the nuanced and subtle differences that would make them worthy of the space they take up on the shelves of our consumer market place.
The blending of these two continuity levels produces a sophisticated, exacting, and formidable visual specter. These natural forms hold an innate meaning that not only transcends the human experience, but even predates our verbal expression, definition, and measurement. Positional continuity [C0 or G0] refers to the hard edge created when 2 surfaces intersect. Now, understandably many of these products are not so much Designed as driven by engineering requirements, cost, and short timelines. Like the F-22, the Lamborghini Reventon is a fusion of Positional and Curvature form development, but its origami-like folding of sleek surfaces signies a threatening yet exotic precision; a technological sex appeal that cuts both ways. In other words, we did not create this meaning; it comes from the forms themselves, and existed long before we did. Tangential continuity [C1 or G1] is the next level, defined by a circular arc creating a relatively smooth transition between these surfaces. Apple's PowerBook represents the other end of the spectrum: large friendly radii and Bauhaus minimalism, these transitions are deceptively sweetened with the subtle Curvature quality fillets.
The quality of this transition is best visualized by a straight line drawn between two circles: the line's only point of contact with each circle is tangential.
Functions and features most likely dominated the development process rather than ease of use and quality of experience. This level of continuity is often described as a basic fillet in most solid modeling systems. I would venture again that the user was not really put at the forefront because it is not ease to measure their experience, thus the "rational" mindset ends up driving development by functionality alone because it is simple to quantify. Although smooth, there is a characteristic "break line" of tangency denoting where the circle meets the line. Also much of the "piling up" of Tangentially formed products today is directly proportional to the tools (solid modeling software) that designers and engineers are using to conceive and implement ideas. Technically, it occurs when the rate of curvature between 2 continuous surfaces are the same. Predating CAD, this geometric linear- and arc-based approach evolved out of the mental constructs of design technique, industrial fabrication, and reproduction of the objects of the 20th Century. In the CAD world this is often referred to as class A surfacing, and is the domain of surface-based modeling software like Alias, Rhino, and Catia. It just doesn't hold universal truth, rooted as it is, exclusively in the world of measurement.
The primary benefit of Curvature's quality is the ability to control smooth reflections across multiple surfaces, generating the elegant sculptural results necessary in the automotive industry. The technical renderings below illustrate these visual qualities better than any verbal description could. Please pay attention to the subtle differences, particularly the Tangential line marking the fillet's point of contact with its adjacent surface, and how the reflections break there as well.



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