Architectural drawings contain graphical information explained in more detail in the specifications. For example, waterproofing is just a line on the drawings designated “WP” but up to 50 pages in the specifications. Specifications became necessary when buildings got more complex, the entirety of the intended work results could not be captured in drawings without the drawings becoming too cluttered. As a result architects sometimes ask “What does that line mean?”.
If lines of inquiry could be traced through semantic space for example in ShiftSpace, these lines would get very complicated. See BLDGBLOG too. Tracing lines of inquiry would be a whole new form of drawing and wondering what simple lines mean, more details and the work results would have to be explained in specifications separate from the drawings.
Below are a set of citations for images and papers collected around 2001, wondering about these shapes. Each example below has varying levels of documentation. This is an experiment to see what is still available. Most are not. Some are in new places than they were originally found but its still the same images and information. Open source images have found many more uses. The remainder is a survey of scientific and artistic approaches to showing dynamics and tracing histories.
The Coffee Mill , by Juan Gris, 1916, Original: oil and collage on paper, 10 9/16” x 8 7/8”, Provenance: Henriette Reverdy, Paris; Pierre Chareau, Paris; E.V. Thaw & Co., New York; Herbert and Nannette Rothschild, Judith Rothschild Foundation, New York, from the book Encounters with Modern Art: The Reminiscences of Nannette F. Rothschild, George H. Marcus Editor and Anne D’Harnoncourt, Philadelphia Museum of Art; ISBN: 0876331088; 1997. Image is now available at the Cleveland Museum of Art.
DMacP Collage of Forms some below
Cross section of nautilus shell from the Patterns of Nature Disk Image KS1724 Comstock, Royalty Free
What Lies Between Order and Chaos? by James P. Crutchfield, The Sciences, New York Academy of Sciences, New York (1994), Santa Fe Institute.
“The events happen far too quickly (over 10^-23 to, at the most lackadaisical, 10^-10, seconds) and in too small a region (on the order of 10^-18 meters) for human perception.”
“We’re maximally uncertain about the weather: we keep looking out the window for an update and are constantly surprised; the entropy rate is high.”
Theoretical Morphology: State of the Art, by Gunther J. Eble, Santa Fe Institute Working Papers
Sturgeon’s Law states that “ninety percent of everything is crap.” from One Thing or Another: Some Examples of Selection in Minds and Computers, A.K.A. “William James at CERN”, by Cosma Shalizi
Nude on a Red Background (Seated Woman), by Fernand Leger, 1927, Original: oil on canvas, 51 1/4” x 32”, Gift of the Joseph H. Hirshhorn Foundation, 1972, 72.173, from the book Hirshhorn: Museum and Sculpture Garden, Jane McAllister Editor, Harry N. Abrams; ISBN: 0810934363; 1996.
Vitruvius, by Leonardo da Vinci, available everywhere, this copy from the British Library learning about bodies.
Asymmetrical rocks, Vermilion Cliffs Wilderness, G81-161783 Cannot be found. Image above from jmg galleries.
“…semantic leaps in jokes, arguments, counterfactuals, and analogies”
Turning the Cat on its Head, by Nikos Drakos, Computer Based Learning Unit, University of Leeds, from the web site of Seana Coulson, University of California, San Diego, Department of Cognitive Science“…until at last we reach our perceptions, grouped together by another process of selection into things. Some of these we attend to; the rest we ignore.”
“…studies indicate that there is a certain level of visual and acoustic complexity that tends to be most pleasing to the human senses.” Holding a New Mirror to Nature, The Economist, 6 November1993
The Periodic Table of Poetry, now at MAKE
“…literature, pictures and sound and movies can all be turned into strings of bits. Once we have a measure of fitness, there is no a priori reason we could not turn standard techniques loose on an initial population of pictures, or sonatas, or sonnets. There are even techniques, outlined at least by Holland, which will allow our system to modify the means it uses to evaluate fitness. In particular, rather than mutating and recombining essentially random lengths of bits, they system could come to recognize that certain blocks of bits are meaningfully connected. It also does not seem impossible, or even terribly difficult, to modify the standard techniques of genetic programming so as to work directly on two-dimensional or three-dimensional objects.” Genetic Algorithms for Art by Cosma Shalizi
Mathematical Equations on Chalkboard, by Steve Cole AA011042 at Getty Images now at Diomedia
“Fun” by Condensed Matter Research with Neutrons and Muons (NuM) at the Paul Scherrer Institute (PSI)
But architects also ask, what is this space represented by lines and specifications really made of?
The Light Inside, by James Turrell, 1999, Original: electric lights, wires, metal and paint, Museum of Fine Arts Houston Texas, from Modern Painters Magazine, Winter 2001
Seminar Hall in the Museum for African Art , by Maya Lin, New York City, 1992-93, Associated Architect, David Hotson, from Boundaries, Simon and Schuster; ISBN: 0684834170; 2000.
Stainless Steel Mesh, Design 9, Lumsden Custom Mesh, 1-800-367-3664
Classic Travertine, Vein Cut, Unfilled and Honed, Stone Source, 202-265-5900
Clear Satin on Cherry, 20A, David Edwards Furniture Company, 410-242-2222
Wrought Iron, Benjamin Moore, 2124-10
Clear Natural Riverstone, Artistic Tile, NY 212-727-9331
Glass, AR 105, by Skyline Design, 773-278-4660
Gel, BTG 150 Starke 9mmm kein Farbmuster Peer Almute, Smooth, 800-433-7337
Platinum, by Ben Park