Architectural Details Quotes

I received the fundamentals of my education in school, but that was not enough. My real education, the superstructure, the details, the true architecture, I got out of the public library. For an impoverished child whose family could not afford to buy books, the library was the open door to wonder and achievement, and I can never be sufficiently grateful that I had the wit to charge through that door and make the most of it. Now, when I read constantly about the way in which library funds are being cut and cut, I can only think that the door is closing and that American society has found one more way to destroy itself.

I love going out of my way, beyond what I know, and finding my way back a few extra miles, by another trail, with a compass that argues with the map…nights alone in motels in remote western towns where I know no one and no one I know knows where I am, nights with strange paintings and floral spreads and cable television that furnish a reprieve from my own biography, when in Benjamin’s terms, I have lost myself though I know where I am. Moments when I say to myself as feet or car clear a crest or round a bend, I have never seen this place before. Times when some architectural detail on vista that has escaped me these many years says to me that I never did know where I was, even when I was home.

The more I examine the universe and the details of its architecture, the more evidence I find that the universe in some sense must have known we were coming.

Normally, when you challenge the conventional wisdom—that the current economic and political system is the only possible one—the first reaction you are likely to get is a demand for a detailed architectural blueprint of how an alternative system would work, down to the nature of its financial instruments, energy supplies, and policies of sewer maintenance. Next, you are likely to be asked for a detailed program of how this system will be brought into existence. Historically, this is ridiculous. When has social change ever happened according to someone’s blueprint? It’s not as if a small circle of visionaries in Renaissance Florence conceived of something they called “capitalism,” figured out the details of how the stock exchange and factories would someday work, and then put in place a program to bring their visions into reality. In fact, the idea is so absurd we might well ask ourselves how it ever occurred to us to imagine this is how change happens to begin.

I see things in windows and I say to myself that I want them. I want them because I want to belong. I want to be liked by more people, I want to be held in higher regard than others. I want to feel valued, so I say to myself to watch certain shows. I watch certain shows on the television so I can participate in dialogues and conversations and debates with people who want the same things I want. I want to dress a certain way so certain groups of people are forced to be attracted to me. I want to do my hair a certain way with certain styling products and particular combs and methods so that I can fit in with the In-Crowd. I want to spend hours upon hours at the gym, stuffing my body with what scientists are calling 'superfoods', so that I can be loved and envied by everyone around me. I want to become an icon on someone's mantle. I want to work meaningless jobs so that I can fill my wallet and parentally-advised bank accounts with monetary potential. I want to believe what's on the news so that I can feel normal along with the rest of forever. I want to listen to the Top Ten on Q102, and roll my windows down so others can hear it and see that I am listening to it, and enjoying it. I want to go to church every Sunday, and pray every other day. I want to believe that what I do is for the promise of a peaceful afterlife. I want rewards for my 'good' deeds. I want acknowledgment and praise. And I want people to know that I put out that fire. I want people to know that I support the war effort. I want people to know that I volunteer to save lives. I want to be seen and heard and pointed at with love. I want to read my name in the history books during a future full of clones exactly like me. The mirror, I've noticed, is almost always positioned above the sink. Though the sink offers more depth than a mirror, and mirror is only able to reflect, the sink is held in lower regard. Lower still is the toilet, and thought it offers even more depth than the sink, we piss and shit in it. I want these kind of architectural details to be paralleled in my every day life. I want to care more about my reflection, and less about my cleanliness. I want to be seen as someone who lives externally, and never internally, unless I am able to lock the door behind me. I want these things, because if I didn't, I would be dead in the mirrors of those around me. I would be nothing. I would be an example. Sunken, and easily washed away.

Insofar as we appreciate order, it is when we perceive it as being accompanied by complexity, when we feel that a variety of elements has been brought to order--that windows, doors and other details have been knitted into a scheme that manages to be at once regular and intricate. (p184)

the most important part of design is finding all the issues to be resolved. The rest are details

It's like making a sandwich. I start with the bread and the meat. That's the architecture. Add some cheese, lettuce and tomato. That's character development and polishing. Then, the fun part. All the little historical details and the slang and the humor is the mayonnaise. I go back and slather that shit everywhere. The mayo is the best part. I'm a bit messy with the mayo.

What are you thinking?” he asked in a disarmingly gentle tone. “That the city looks different depending on whom I’m seeing it with.” He nodded easily, as if this same thought had occurred to him. “I notice different things,” I continued. “Like with you, I pay more attention to the details of the buildings – the textures, the colors, the people standing in front of them. The reflections are different.” “Reflections?” he asked quietly. “They are.” I watched our bodies morph and distort in the window of an empty bank. “You’re there,” I said. “That’s how they’re different.

Billy switched on a floor lamp. The light from the single source threw the baroque detailing of Montana’s body into sharp relief. Billy was reminded of fantastic architecture in Dresden, before it was bombed.

I received the fundamentals of my education in school, but that was not enough. My real education, the superstructure, the details, the true architecture, I got out of the public library. For an impoverished child whose family could not afford to buy books, the library was the open door to wonder and achievement, and I can never be sufficiently grateful that I had the wit to charge through that door and make the most of it.

The bottom line for mathematicians is that the architecture has to be right. In all the mathematics that I did, the essential point was to find the right architecture. It's like building a bridge. Once the main lines of the structure are right, then the details miraculously fit. The problem is the overall design.

The more I examine the universe and the details of its architecture, the more evidence I find that the universe in some sense must have known we were coming

The way you keep software soft is to leave as many options open as possible, for as long as possible. What are the options that we need to leave open? They are the details that don’t matter.

I do not feel like an alien in this universe. The more I examine the universe and study the details of its architecture, the more evidence I find that the universe is some sense must have known that we were coming

This was before the importance of set and setting was understood. I was brought to a basement room, given an injection, and left alone.” A recipe for a bad trip, surely, but Richards had precisely the opposite experience. “I felt immersed in this incredibly detailed imagery that looked like Islamic architecture, with Arabic script, about which I knew nothing. And then I somehow became these exquisitely intricate patterns, losing my usual identity. And all I can say is that the eternal brilliance of mystical consciousness manifested itself. My awareness was flooded with love, beauty, and peace beyond anything I ever had known or imagined to be possible. ‘Awe,’ ‘glory,’ and ‘gratitude’ were the only words that remained relevant.” Descriptions of such experiences always sound a little thin, at least when compared with the emotional impact people are trying to convey; for a life-transforming event, the words can seem paltry. When I mentioned this to Richards, he smiled. “You have to imagine a caveman transported into the middle of Manhattan. He sees buses, cell phones, skyscrapers, airplanes. Then zap him back to his cave. What does he say about the experience? ‘It was big, it was impressive, it was loud.’ He doesn’t have the vocabulary for ‘skyscraper,’ ‘elevator,’ ‘cell phone.’ Maybe he has an intuitive sense there was some sort of significance or order to the scene. But there are words we need that don’t yet exist. We’ve got five crayons when we need fifty thousand different shades.” In

If you can develop the high-level policy without committing to the details that surround it, you can delay and defer decisions about those details for a long time. And the longer you wait to make those decisions, the more information you have with which to make them properly.

It is important to note that the design of an entire brain region is simpler than the design of a single neuron. As discussed earlier, models often get simpler at a higher level—consider an analogy with a computer. We do need to understand the detailed physics ofsemiconductors to model a transistor, and the equations underlying a single real transistor are complex. A digital circuit that multiples two numbers requires hundreds of them. Yet we can model this multiplication circuit very simply with one or two formulas. An entire computer with billions of transistors can be modeled through its instruction set and register description, which can be described on a handful of written pages of text and formulas. The software programs for an operating system, language compilers, and assemblers are reasonably complex, but modeling a particular program—for example, a speech recognition programbased on hierarchical hidden Markov modeling—may likewise be described in only a few pages of equations. Nowhere in such a description would be found the details ofsemiconductor physics or even of computer architecture. A similar observation holds true for the brain. A particular neocortical pattern recognizer that detects a particular invariant visualfeature (such as a face) or that performs a bandpass filtering (restricting input to a specific frequency range) on sound or that evaluates the temporal proximity of two events can be described with far fewer specific details than the actual physics and chemicalrelations controlling the neurotransmitters, ion channels, and other synaptic and dendritic variables involved in the neural processes. Although all of this complexity needs to be carefully considered before advancing to the next higher conceptual level, much of it can be simplified as the operating principles of the brain are revealed.

There is something new: A globe about the size of a grapefruit, a perfectly detailed rendition of Planet Earth, hanging in space at arm's length in front of his eyes. Hiro has heard about this but never seen it. It is a piece of CIC software called, simply, Earth. It is the user interface that CIC uses to keep track of every bit of spatial information that it owns—all the maps, weather data, architectural plans, and satellite surveillance stuff.

Just as the Mediterranean separated France from the country Algiers, so did the Mississippi separate New Orleans proper from Algiers Point. The neighborhood had a strange mix. It looked seedier and more laid-back all at the same time. Many artists lived on the peninsula, with greenery everywhere and the most beautiful and exotic plants. The French influence was heavy in Algiers, as if the air above the water had carried as much ambience as it could across to the little neighborhood. There were more dilapidated buildings in the community, but Jackson and Buddy passed homes with completely manicured properties, too, and wild ferns growing out of baskets on the porches, as if they were a part of the architecture. Many of the buildings had rich, ornamental detail, wood trim hand-carved by craftsmen and artisans years ago. The community almost had the look of an ailing beach town on some forgotten coast.

A choice architect has the responsibility for organizing the context in which people make decisions. [T]here are many parallels between choice architecture and more traditional forms of architecture. A crucial parallel is that there is no such thing as a “neutral” design. [A]s good architects know, seemingly arbitrary decisions, such as where to locate the bathrooms, will have subtle influences on how the people who use the building interact. [S]mall and apparently insignificant details can have major impacts on people’s behavior. [I]n many cases, the power of these small details comes from focusing the attention of users in a particular direction. Good architects realize that although they can’t build the perfect building, they can make some design choices that will have beneficial effects. And just as a building architect must eventually build some particular building, a choice architect must [for example] choose a particular arrangement of food options at lunch, and by so doing she can influence what people eat. She can nudge.

We wrote our software to know the detailed structure of the disk. It knew that the disk had 200 cylinders and 10 heads, and that each cylinder had several dozen sectors per head. It knew which cylinders held the Agents, Employers, and Members. All this was hard-wired into the code. ... One day a more experienced programmer joined our ranks. When he saw what we had done, the blood drained from his face, and he stared aghast at us, as if we were aliens of some kind. Then he gently advised us to change our addressing scheme to use relative addresses.

In this section I have tried to demonstrate that Darwinian thinking does live up to its billing as universal acid: it turns the whole traditional world upside down, challenging the top-down image of designs flowing from that genius of geniuses, the Intelligent Designer, and replacing it with the bubble-up image of mindless, motiveless cyclical processes churning out ever-more robust combinations until they start replicating on their own, speeding up the design process by reusing all the best bits over and over. Some of these earliest offspring eventually join forces (one major crane, symbiosis), which leads to multicellularity (another major crane), which leads to the more effective exploration vehicles made possible by sexual reproduction (another major crane), which eventually leads in one species to language and cultural evolution (cranes again), which provide the medium for literature and science and engineering, the latest cranes to emerge, which in turn permits us to “go meta” in a way no other life form can do, reflecting in many ways on who and what we are and how we got here, modeling these processes in plays and novels, theories and computer simulations, and ever-more thinking tools to add to our impressive toolbox. This perspective is so widely unifying and at the same time so generous with detailed insights that one might say it’s a power tool, all on its own. Those who are still strangely repelled by Darwinian thinking must consider the likelihood that if they try to go it alone with only the hand tools of tradition, they will find themselves laboring far from the cutting edge of research on important phenomena as diverse as epidemics and epistemology, biofuels and brain architecture, molecular genetics, music, and morality.

Jobs became fascinated by the way Carr Jones relied on old material, including used bricks and wood from telephone poles, to provide a simple and sturdy structure. The beams in the kitchen had been used to make the molds for the concrete foundations of the Golden Gate Bridge, which was under construction when the house was built. “He was a careful craftsman who was self-taught,” Jobs said as he pointed out each of the details. “He cared more about being inventive than about making money, and he never got rich. He never left California. His ideas came from reading books in the library and Architectural Digest.

It is not, of course, only the Japanese who find flat sterile surfaces attractive and kirei. Foreign observers, too, are seduced by the crisp borders, sharp corners, neat railings, and machine-polished textures that define the new Japanese landscape, because, consciously or unconsciously, most of us see such things as embodying the very essence of modernism. In short, foreigners very often fall in love with kirei even more than the Japanese do; for one thing, they can have no idea of the mysterious beauty of the old jungle, rice paddies, wood, and stone that was paved over. Smooth industrial finish everywhere, with detailed attention to each cement block and metal joint: it looks ‘modern’; ergo, Japan is supremely modern.

A whole problematic then develops: that of an architecture that is no longer built simply to be seen (as with the ostentation of palaces), or to observe the external space (cf. the geometry of fortresses), but to permit an internal, articulated and detailed control – to render visible those who are inside it; in more general terms, an architecture that would operate to transform individuals: to act on those it shelters, to provide a hold on their conduct, to carry the effects of power right to them, to make it possible to know them, to alter them. Stones can make people docile and knowable. The old simple schema of confinement and enclosure — thick walls, a heavy gate that prevents entering or leaving — began to be replaced by the calculation of openings, of filled and empty spaces, passages and transparencies.

When I first walked into the Chapel, I was overwhelmed by the space and its vastness – a common reaction for many who gaze up at the world’s largest fan vaulted ceiling. When my visits increased in number, the vastness kept me speechless: I often was so enveloped in one aspect that would I stumble en route to the next. For hours upon hours, I photographed and I waited – for the sun to shine – for corners to darken – for candles to light – for fog to move. And the series grew… This series contemplates the balance of serenity – between the expansive architecture and its details – between my former career in science and new career in art – between formalism and the sublime – between visual art and poetry – between abstract ambiguity and transparency. These photographs and words together are an attempt to encompass this balancing act. At the most fundamental level, I simply seek to illuminate the unique and remarkable qualities that enable the chapel at King’s College to become King’s Chapel.

By the architecture of a system, I mean the complete and detailed specification of the user interface. For a computer this is the programming manual. For a compiler it is the language manual. For a control program it is the manuals for the language or languages used to invoke its functions. For the entire system it is the union of the manuals the user must consult to do his entire job. The architect of a system, like the architect of a building, is the user's agent. It is his job to bring professional and technical knowledge to bear in the unalloyed interest of the user, as opposed to the interests of the salesman, the fabricator, etc.[2] Architecture must be carefully distinguished from implementation. As Blaauw has said, "Where architecture tells what happens, implementation tells how it is made to happen."[3] He gives as a simple example a clock, whose architecture consists of the face, the hands, and the winding knob. When a child has learned this architecture, he can tell time as easily from a wristwatch as from a church tower. The implementation, however, and its realization, describe what goes on inside the case—powering by any of many mechanisms and accuracy control by any of many.

Modeling the evolution of modularity became significantly easier after a kind of genetic variation was discovered by quantitative trait locus (QTL) mapping in the lab of James Cheverud at Washington University called 'relationship QTL' or r-QTL for short. An r-QTL is a genetic locus that affects the correlations between two quantitative traits (i.e. their variational relationship, and therefore, 'relationship' loci). Surprisingly, a large fraction of these so-mapped loci are also neutral with respect to the character mean. This means one can select on these 'neutral' r-QTLs without simultaneously changing the character mean in a certain way. It was easy to show that differential directional selection on a character could easily lead a decrease in genetic correlation between characters. Of course, it is not guaranteed that each and every population has the right kind of r-QTL polymorphisms, nor is it yet clear what kind of genetic architecture allows for the existence of an r-QTL. Nevertheless, these findings make it plausible that differential directional selection can enhance the genetic/variational individuality of traits and, thus, may play a role in the origin of evolutionary novelties by selecting for variational individuality. It must be added, though, that there has been relatively little research in this area and that we will need to see more to determine whether we understand what is going on here, if anything. In particular, one difficulty is the mathematical modeling of gene interaction (epistasis), because the details of an epistasis model determine the outcome of the evolution by natural selection. One result shows that natural selection increases or decreases mutational variance, depending on whether the average epistatic effects are positive or negative. This means that the genetic architecture is more determined by the genetic architecture that we start with than by the nature of the selection forces that act upon it. In other words, the evolution of a genetic architecture could be arbitrary with respect to selection.

But nothing in my previous work had prepared me for the experience of reinvestigating Cleveland. It is worth — given the passage of time — recalling the basic architecture of the Crisis: 121 children from many different and largely unrelated families had been taken into the care of Cleveland County Council in the three short months of the summer of 1987. (p18) The key to resolving the puzzle of Cleveland was the children. What had actually happened to them? Had they been abused - or had the paediatricians and social workers (as public opinion held) been over-zealous and plain wrong? Curiously — particularly given its high profile, year-long sittings and £5 million cost — this was the one central issue never addressed by the Butler-Sloss judicial testimony and sifting of internal evidence, the inquiry's remit did not require it to answer the main question. Ten years after the crisis, my colleagues and I set about reconstructing the records of the 121 children at its heart to determine exactly what had happened to them... (p19) Eventually, though, we did assemble the data given to the Butler-Sloss Inquiry. This divided into two categories: the confidential material, presented in camera, and the transcripts of public sessions of the hearings. Putting the two together we assembled our own database on the children each identified only by the code-letters assigned to them by Butler-Sloss. When it was finished, this database told a startlingly different story from the public myth. In every case there was some prima fade evidence to suggest the possibility of abuse. Far from the media fiction of parents taking their children to Middlesbrough General Hospital for a tummy ache or a sore thumb and suddenly being presented with a diagnosis of child sexual abuse, the true story was of families known to social services for months or years, histories of physical and sexual abuse of siblings and of prior discussions with parents about these concerns. In several of the cases the children themselves had made detailed disclosures of abuse; many of the pre-verbal children displayed severe emotional or behavioural symptoms consistent with sexual abuse. There were even some families in which a convicted sex offender had moved in with mother and children. (p20)

People suitable for designing the IA for a site could include: business analysts usability specialists writers graphic designers web developers project managers Their skills should include: empathy with people language ability to synthesise different types of information attention to detail great communication skills

This information is not too difficult to follow, provided that the reader takes an interest in, and has no distaste, for the minutiae of Greek architectural detail...

In fact, other than certain aspects of low-level vision, I know of no success at relating systematicities of mental representations to the details of neural architecture.14

and Mrs. William Hayes Fogg. New gifts from Forbes and others were so numerous by 1912 that plans were made for a new museum adjacent to Harvard Yard on Quincy Street. As director, Forbes conceived of the new Fogg as a laboratory of learning, accommodating galleries, lecture halls, curatorial offices, conservation, and a research library all under the same roof. He closely oversaw the architectural plans by Charles Coolidge – from the outside, a simple brick neocolonial; inside, a spacious, skylit courtyard modeled, down to the last detail, on a High Renaissance facade in Montepulciano, in Tuscany, creating a sanctuary from the day-to-day bustle of Cambridge. Forbes insisted that this be finished, like the original, in travertine, at the then-extraordinary cost of $56,085. Harvard president Abbott Lawrence Lowell balked. A simple plaster finish would cost about $8,500. The travertine was not only expensive, Lowell asserted, it was ostentatious. But Forbes was

During this time period, architecture in the Ethiopian culture of D’mt has an “unmistakable South Arabian appearance in many details”, although there is some debate as to whether these patterns can be attributed to large movements of people versus elite-driven cultural practices. Additionally, linguistic evidence suggests that this time period was when Ethiosemitic languages were introduced to Africa, presumably from southern Arabia.

Composed together into architectural sentences, the rooms, (nouns), doors and windows, (verbs), details, (adjectives and adverbs), and the special features and accents, (interjections), become the prose of architecture. Unfortunately, just like in writing, some sentences are doomed to be pulp fiction. Your Perfect House can be better than that. It should be destined to become great literature.

Architecture is (in part) “the art of leaving out irrelevant details”. Leaving out details, sadly, often derails into religiously ignoring details. The key word, however, is ‘irrelevant’: as the Chinese proverb says: people stumble over molehills, not over mountains. An architect consciously leaves out details that he or she has decided are irrelevant to the decisions to be made.

Why We Develop Faulty Mental Models of Ourselves as Learners It is very puzzling, in fact, that as lifelong users of our memories and learning capabilities, we do not end up with a more accurate mental model of how we learn, or fail to learn. Why is it, in short, that we are not educated by the “trials and errors of everyday living and learning” (R. A. Bjork, 1999, p. 455)? One consideration is that the functional architecture of how humans forget, remember, and learn is unlike the corresponding processes in man-made devices. Most of us do not, of course, understand the engineering details of how information is stored, added, lost, or overwritten in man-made devices, such as a computer or video recorder, but the functional architecture of such systems is simpler and more understandable than is the complex architecture of human learning and memory. To the extent, for example, that we do think of ourselves as working like such devices, we become prone to assuming that exposing ourselves to information and procedures will lead to storage (i.e., recording) of such information or procedures in our memories—that the information will write itself in one’s memory, so to speak.

On Monday mornings in nice weather, Diana would ask, “Where did you go this weekend, Mrs. Robertson?” She knew we made frequent trips outside London. Other English friends would tell us about their favorite spots, but Diana was not forthcoming with travel suggestions. At the time, I assumed that she might not have seen as much of England and Scotland as we did during that year. Diana enjoyed our enthusiasm for her country--its natural beauty, its stately homes and castles, its history. She must have smiled inside when I would tell her of my pleasure in the architecture, paintings, and furniture I saw in England’s famous mansions. She’d grown up in one! And she would always ask, “How did Patrick enjoy…Warwick Castle or Canterbury Cathedral or Dartmoor?” Patrick was a very good-natured sightseer. In return, I would ask, “And how was your weekend?”, leaving it up to her to say as little or as much as she chose. I would not have asked specifically, “What did you do last weekend?” She would answer politely and briefly, “Fine,” or “Lovely,” maybe mentioning that she’d been out in the country. Of course, I didn’t know “the country” meant a huge estate that had been in the family for centuries. Diana was unfailingly polite but sparing of any details. She considered her personal life just that, personal. She was careful never to give us a clue about her background. If she did not volunteer information, something in her manner told me I should not intrude. She may not have even been aware of this perception I had. I viewed her understated manner as appealing and discreet, not as off-putting or unfriendly. Clearly, Diana did not want us to know who she was. We may possibly have been the only people Diana ever knew who had no idea who she was. We welcomed her into our home and trusted her with our child for what she was. This may have been one reason she stayed in touch with us over the years.

The need to house the dead was the first impulse of architecture. And so the need to house the dead is a useful way of talking about one's past life........in fact the personal details of the age was gathered together and symbolized by the passing of the last Queen Empress.

If you are doing very detailed implementation and coding, read a book on design and architecture. If you are doing high-level design, read a book on coding techniques.

Air, however, closed within a solid form, and space, shaped by vaulting, walls and architectural detail, becomes the most perfect representation of nostalgia. You can walk into it, feel its touch on your skin, but it all flows between your fingers, you can hold it in your lungs, but just for a moment.

A Guide To Easy Secrets In FortiAuthenticator FortiAuthenticator User Management Appliances provide two factor authentication, RADIUS, LDAP and 802.1 X Wireless Authentication, Certificate Management and Fortinet Single Sign On. FortiAuthenticator is compatible with and complements the FortiToken variety of two factor authentication tokens for Secure Remote Access empowering authentication with multiple FortiGate network security appliances and third party apparatus. When an user login is found, the username, IP and group details are entered into the FortiAuthenticator User Identity Management Database and according to the local policy, can be shared with multiple FortiGate devices. For complicated distributed domain name architectures where polling desirable or of domain controllers is just not possible, an option is the FortiAuthenticator SSO Client. FortiAuthenticator is compatible with physical OTP tokens Certification Tokens FortiToken Mobile for IOS and Android and SMS/ e-mail tokens FortiAuthenticator supports the broadest range of tokens potential to suit your user demands with the physical FortiToken 200 e-mail and SMS tokens and the new FortiToken cellular for IOS and Android device FortiAuthenticator has a token for all users. In a large business, for example, FortiAuthenticator SSO Mobility Agent or AD polling may be picked as the principal method for transparent authentication will fallback to the portal for client users or non domain name systems. Consistently polling domain controllers detect user authentication into active directory. FortiAuthenticator removes this overhead by streamlining the bulk deployment of certificates for VPN use in a FortiGate surroundings by automating the risk-free certificate delivery via the SCEP protocol and collaborating with FortiManager for the configuration required. On the FortiToken 300 USB Certification store, certificates can be created and stored for client established certificate VPNs. This secure, pin safe certification store can be use to enhance the security of client VPN connections in conjunction and is not incompatible with FortiClient.

5 Thumb Rules to Follow for Outsourcing 3D Character. Outsourcing has become one of the basic requirements of the digital industry. Be it software, websites, architecture rendering or 3D character modelling, companies look forward to outsource these tasks to reliable names. Reason is simple. When it comes to value for money, 3D Art Outsourcing Service stands to be the most viable option as setting up in-house production often isn’t considered a wise ROI choice. But, this necessity has also given rise to possible frauds. There are countless companies waiting to gulp your money in the blink of an eye. There are many more who are ready to lure you with lucrative offers when it comes to 3D character modelling concept. Since not everyone is familiar with the technicalities of this field, companies can easily get trapped with fake promises of giving top notch services well within their reach, only to find out that the whole thing was neither worth their time nor money. However, all the sham can be avoided if companies follow the six thumb rules while Game outsourcing character modelling tasks to animation studios as these will lead them to the right names. 1) Take a Tour of the Website Although you will find expert comments on not to judge a company by its cover, there is no denying the fact that website plays a decisive role in company’s credibility, especially when it comes to art and animation studios. A studio that claims to offer you state-of-art results must first focus on its own. A clean, crisp website with appropriate content can actually say a lot about the studio’s work. A poor design and inappropriate content often indicate the following things: - Outdated and poorly maintained - Negligence towards its virtual presentation - Unprofessionalism - Poor marketing A sincere design and animation studio will indeed feature a vibrant website with all its details properly included. 2) Location Matters Location has a huge impact on hiring charges as it largely decides the price range one can expect. If you are looking forward to countries like India, you expect the range to be well within your budget chiefly because such countries have immense talent, but because of the increasing demand and competition in the field of outsourcing, hiring charges are relatively cheaper than countries like UK or USA. This means that once can get desired expertise without spending a fortune. 3) Know Your Team Inside Out Since you will be spending your hard earned money, you have every right to know the ins and outs of your team. Getting to know the team can assist you in your decision. Do your part of homework and be ready with your queries. Starting from their names to their works, check everything you can, and if need be, go for one-to-one conversation. This will not only help you to know them better, but will also give you an idea of their communication, their knowledge about their work and their sincerity. A dedicated one will always answer you up to the point while a confused one with fidget with words or beat around the bush. 4) Don’t Miss Out on the Portfolio While the website of a studio is its virtual representative, it’s the portfolio which speaks about its execution. Reputed names of 3D modelling and design companies house excellent projects ranging from simple to complex ones. A solid portfolio indicates: - commitment of the studio towards its projects - competency of its team - execution and precision - status of its expertise Apart from the portfolio, some animation studios even feature case studies and white papers in their websites which indicate their level of transparency. Make sure to go through all of them.

The ceiling was high, beautifully composed with interconnected arches, neo-Gothic relief sculptures, and gilded details, in eye-popping contrast to the creamy marble walls and dark blue floor. It was an architectural masterpiece all by itself, and I could only imagine what the other rooms looked like.

Yet over the last fifty years or so, asymmetry has crept into our homes and buildings. Architectural critic Kate Wagner traces this shift to the suburban building boom of the blingy 1980s. While the energy crisis of the seventies kept home sizes modest, the Reagan years brought large incentives for the construction industry and a culture of conspicuous consumption that turned houses into status symbols. These luxury homes, dubbed “McMansions,” swelled to include all kinds of new features: exercise rooms, home theaters, three-car garages, and grand oversize entryways. Eager to please, developers sacrificed symmetry for scale, producing massive homes that often felt surprisingly awkward. They sometimes looped architects out of the equation entirely, using a modular approach that allowed prospective homeowners to customize their design based on a kit of options. These options included architectural details like arches, moldings, and bay windows, which were then applied haphazardly to the surface rather than integrated into the structure.

Of course, being perishable, the textiles themselves are not easy to learn about -- just like most of the rest of women's products (such as food and the recipes for preparing it). Therefore, to recover the reality of women's history, we must develop excellent techniques ... using not just the obvious data but learning to ferret out every helpful detail. Practical experiments like reweaving some of the surviving ancient cloths are a case in point. Among the thousands of archaeologists who have written about pottery or architecture, how many have actually tried to to make a pot or build a building? Precious few; but with so much data available for study in these fields, scholars felt flooded with information already, and such radical steps hardly seemed necessary. Our case is different; we must use every discoverable clue.

To Morton Stone, all those first weeks at Meerlust had a strange, dream-like quality. The contours and smells of the country, the odd style of the house’s architecture, the stinkwood furniture and ancient brass with which its rooms were furnished, had an exotic flavour that left him slightly bewildered. They didn’t, naturally, bewilder Catherine at all. She was rapturously recapturing the days when she and Hans had been children together. To Morton there was something beautiful, and at the same time pathetic, in the quickness with which she responded to each remembered detail: the bird-song, the flowers that now bloomed in incredible profusion, the smell of the veld, the soft accents of Cape-Dutch dialect. It was pathetic for two reasons. First because these memories, which he could neither share nor understand, increased the distance between them; once again, because all her rapture was shadowed for him by the gloom of an in- definite apprehensiveness. This very excess of happiness took it out of her. She wasn’t, as he could see, and as the Malans’ Dutch doctor told him, any better for the change. It seemed to spur her to a morbid restlessness. She was catching at every memory, within, or just out of reach, as though some inward consciousness told her that the time for its enjoyment was limited. It irked her to find him, as it seemed to her, dull and unresponsive. As for Morton, the sense of impending disaster never left him. He could have faced it more easily, he felt, at home, amid familiar surroundings, than in this strange, unreal oasis of beauty, five thousand miles from anywhere.

instead she focused on the people. Their voices blended together, and collectively they became a faceless crowd. But the grand thing about people was that you could also choose to focus on particular faces, really see them, and find a wealth of stories. So many people with so many lives, each a separate little mystery. Infinite detail, like Pattern. Look close at his fractal lines, and you'd realize each little ridge had na entire architecture of it's own. Look close at a given person and you'd see their uniqueness - see that they didn't quite match whatever broad category you'd first put them in" From Oathbringer (The Stormlight Archive - Book 3)

Exploring Lordran is one of Dark Souls' foremost pleasures, and the seamlessness with which its various zones connect offers the gratification you get watching adjoining puzzle pieces snap together. It's worth considering each area in its turn, the architecture and meticulous care with which they're constructed. It's difficult to think of another game in which every brushstroke feels this considereed - everything down to the placement of specific pieces of loot and their significance to the lore. This is why fans feel comfortable speculating so aggressively about the world of Dark Souls. The lack of arbitrariness across so many facets of the game's construction makes every subsequent detail feel just as potentially meaningful.

Sterling Memorial, the main library at Yale, had been built to resemble a Gothic cathedral, replete with stained glass, carved stonework, and a crenellated tower. Completed in 1930, the structure was "as near to modern Gothic as we dared" according to its architect, James Gamble Rogers. The use of the word "dare" always intrigued me. It suggested boundaries and infractions. There was, as I had come to expect at Yale, a scandalous story attached to the library's design. The benefactress, an old woman with failing eyesight, wanted a place of worship, and Yale wanted a library. Flouting its own motto, Lux et Veritas, Yale presented her with a structural trompe l'oeil. A cathedral in its outlines, but in its details a pantheon to books, where King Lear was a demigod and Huckleberry Finn a mischievous angel. The visual world had already become a greasy smudge to the benefactress, so the old biddy died never knowing the difference. Light and Truth, indeed.

Buildings are the unavoidable art, whether the high art of the architectural masterpiece or the rich vernacular heritage of villages, towns and cities. Their forms and details are absorbed mostly on the nonconscious level, yet they weave their spell on the mind without our consent. They influence mood and demeanour, especially when they tap in to the subterranean currents of archetypal symbolism. On this level they can transmit subliminal messages of reassurance. // At the level of aesthetics per se , can we justify the belief that there is a social value which extends beyond merely offering transient pleasure?

Buildings are the unavoidable art, whether the high art of the architectural masterpiece or the rich vernacular heritage of villages, towns and cities. Their forms and details are absorbed mostly on the nonconscious level, yet they weave their spell on the mind without our consent. They influence mood and demeanour, especially when they tap in to the subterranean currents of archetypal symbolism. On this level they can transmit subliminal messages of reassurance.

The more I examine the universe and study the details of its architecture, the more evidence I find that the universe in some sense must have known we were coming.

All joking aside, these diagrams do suffer from one or more of the following problems: • Notation (e.g. colour coding, shapes, etc) is not explained or is inconsistent. • The purpose and meaning of elements is ambiguous. • Relationships between elements are missing or ambiguous. • Generic terms such as “business logic” are used. • Technology choices (or options, if doing up front design) are omitted. • Levels of abstraction are mixed. • Too much or too little detail. • No context or a logical starting point.

impossibly low swing while you stand there hunched over, staring into space, begging yourself not to look at your watch yet because zero time has passed in the last seventeen hours; it is the same exact time it was when you arrived at that park, before your butt was wet with something smelly and before you put your hand on a fireman’s pole covered with bird poop, and before someone else’s child sneezed directly into your face. Time stands still when you are a stay-at-home mom, and working moms are always saying, Oof! Where did the day go? and I am always thinking, It did not go. It will never end. I will never get to the part where I sink into a comfy chair with a glass of wine, because this is the longest day of my life. Until tomorrow. So yes, I’m very glad to be sitting in Wendy’s pretty reclaimed-warehouse office with gorgeous architectural details and story-and-a-half paned windows looking out over one of the cutest, busiest hot spots in the city. Wendy has a fancy ergonomic chair and a sit-to-stand desk. Here at her workplace, people care if her body is properly aligned and healthily engaged. They care if she is comfortable. Sometimes Anna Joy comes into our bedroom in the middle of the night,

My advice for maintaining an engineering mindset: 1. Use the development environment to build the product. 2. Be able to draw a detailed architectural diagram describing your product on any whiteboard at any time. 3. Own a feature. 4. Write unit tests.

A computer program is a detailed description of the policy by which inputs are transformed into outputs.

The web is a delivery mechanism—an IO device—and your application architecture should treat it as such. The fact that your application is delivered over the web is a detail and should not dominate your system structure. Indeed, the decision that your application will be delivered over the web is one that you should defer. Your system architecture should be as ignorant as possible about how it will be delivered.

The word “architecture” is often used in the context of something at a high level that is divorced from the lower-level details, whereas “design” more often seems to imply structures and decisions at a lower level. But this usage is nonsensical when you look at what a real architect does.

To the software architect, however, the answer is clear: OO is the ability, through the use of polymorphism, to gain absolute control over every source code dependency in the system. It allows the architect to create a plugin architecture, in which modules that contain high-level policies are independent of modules that contain low-level details. The low-level details are relegated to plugin modules that can be deployed and developed independently from the modules that contain high-level policies.

The database, the query language, and even the schema are technical details that have nothing to do with the business rules or the UI. They will change at rates, and for reasons, that are independent of other aspects of the system. Consequently, the architecture should separate them from the rest of the system so that they can be independently changed. Thus we find the system divided into decoupled horizontal layers—the UI, application-specific business rules, application-independent business rules, and the database, just to mention a few.

Some of us have even been convinced that the database is the embodiment of the business rules. But, as we shall see in another chapter, this idea is misguided. The database is a tool that the business rules can use indirectly. The business rules don’t need to know about the schema, or the query language, or any of the other details about the database. All the business rules need to know is that there is a set of functions that can be used to fetch or save data. This allows us to put the database behind an interface.

All software systems can be decomposed into two major elements: policy and details. The policy element embodies all the business rules and procedures. The policy is where the true value of the system lives. The details are those things that are necessary to enable humans, other systems, and programmers to communicate with the policy, but that do not impact the behavior of the policy at all. They include IO devices, databases, web systems, servers, frameworks, communication protocols, and so forth.

The goal of the architect is to create a shape for the system that recognizes policy as the most essential element of the system while making the details irrelevant to that policy. This allows decisions about those details to be delayed and deferred.

DIP: The Dependency Inversion Principle The code that implements high-level policy should not depend on the code that implements low-level details. Rather, details should depend on policies.

The phenomenon of the "creative ilness", described in detail by Henri Ellenberger, in his massive study of the history of the unconsious, is alive and well in our own culture. Ellenberger described its characteristic elements: A creative illness succeeds a period of intense preoccupation with an idea and search for a certain truth. It is a polymorphous condition that can take the shape of depression, neurosis, psychomatic ailments, or even psychosis. Whatever the symptoms, they are felt as painful, if not agonizing by the subject, with alternating periods of allevation and worsening. Throughout the illness the subject never loses the thread of his dominating preoccupation. It is often compatible with normal, professional activity and family life. But even if he keeps to his social activities, he is almost entirely absorbed with himself. He suffers from feelings of utter isolation, even when he has a mentor who guides him through the ordeal (like the shaman apprentice with his master). The termination is often rapid and marked by a phase of exhilaration. The subject emerges from his ordeal with a permanent transformation in his personality and the conviction that he has discovered a great truth or a new spiritual world.

The public space of the museum is not my favorite, loud and full of tourists and school groups and hungry hordes. Their curiosity is endearing---they're acolytes for the natural world. And the marble gleams with architectural detail and precious objects all around. But on these, my gray days, entering the building carries the weight of death: all the specimens, thousands of carcasses of every species, stuffed or otherwise retrieved from oblivion so we can know them, yet all dead. The birds I draw and paint, all dead. On these days, my only defense is to imagine every pinned butterfly taking wing, every stuffed marsupial waking up, every preserved plant specimen blooming and carpeting the marble floor like a time-lapse forest, and every bird coming to life, flying up to the dome and away. On the days when the fog comes and hooks into my gut like a sharp-toothed parasite, these visions can save me. The steadier, more consistent salvation, of course, is the work. I can lose myself for hours drawing, for instance, the common loon, with its inky head, white banding at the neck, and an intricacy of pin dots and fractured rectangles cascading across the wings. With the right precision, I can bring the deadness of a bird skin to a striking facsimile of life.

Hindu architecture and sculpture achieved their highest perfection in Mysore under the patronage of Hindu kings from the eleventh to the fifteenth centuries. The temple at Belur, an eleventh-century masterpiece completed during the reign of King Vishnuvardhana, is unsurpassed in the world for its delicacy of detail and exuberant imagery.

The echo of enslavement is everywhere. It is in the levees, originally built by enslaved labour. It is in the detailed architecture of some of the city's oldest buildings, sculpted by enslaved hands. It is in the roads, first paved by enslaved people.

The cathedral sparkled in the sunlight; every last detail of its architecture could be distinguished. I felt like we were seeing it reflected in one of those great mythical mirrors where winter has forever frozen its most beautiful memories.

perhaps the boldest instance of a sudden change in almost every respect, whether of plan, elevation, or detail, which is known to architecture.

Dylan O’Connor understood this turbulent age too well, yet he remained profoundly optimistic, for in every moment of every day, in the best works of humanity as in every baroque detail of nature, he saw beauty that lifted his spirit, and everywhere he perceived vast architectures and subtle details that convinced him the world was a place of deep design as surely as were his paintings. This combination of realistic assessment, faith, common sense, and enduring hope ensured that the events of his time seldom surprised him, rarely struck terror in him, and never reduced him to despair.

Magritte’s variations on the same theme invite us to rethink conventional notions of originality, to look more carefully at the details and contrasts between different versions of the painting: we observe the architectural variations of the Belgian houses, the varieties of trees in the foreground, of the streetlamps and their shadows, and of the skyscapes. Some of these paintings are in portrait format, others in landscape; some, like the 1961 version, give the viewer a deeper sense of proximity to, or immersion in, the scene while in others the depicted world is more distant. Together, these variant paintings form an internal system of poetic rhythms and patterns in which cross-references abound, alongside allusions to older Belgian art, most notably La Maison rose (1892) by the symbolist William Degouve de Nuncques.

I was struck by the graphic quality, the fullness of her descriptions. Her parents spoke too of this fullness: “All the characters or creatures or objects Charlotte talks about are placed,” her mother said; “spatial reference is essential to ASL. When Charlotte signs, the whole scene is set up; you can see where everyone or everything is; it is all visualized with a detail that would be rare for the hearing.” This placing of objects and people in specific locations, this use of elaborate, spatial reference had been striking in Charlotte, her parents said, since the age of four and a half—already at that age she had gone beyond them, shown a sort of “staging” power, an “architectural” power that they had seen in other deaf people—but rarely in the hearing.

I think you get the point. If you can develop the high-level policy without committing to the details that surround it, you can delay and defer decisions about those details for a long time. And the longer you wait to make those decisions, the more information you have with which to make them properly. This also leaves you the option to try different experiments. If you have a portion of the high-level policy working, and it is agnostic about the database, you could try connecting it to several different databases to check applicability and performance. The same is true with web systems, web frameworks, or even the web itself. The longer you leave options open, the more experiments you can run, the more things you can try, and the more information you will have when you reach the point at which those decisions can no longer be deferred.

The city rises up around them. It has been described as a place through which we move - travelling towards, away from or past one another. Even endings are moved through as if they were punctuation rather than conclusion. But the city is also a place of arrest. We have to negotiate its traffic and its architecture as well as each other. And there are always too many of us, moving too slowly, encumbered, perhaps lost. An ending is built after the fact, just like the beginning. It can take years. Detail has to pass into memory, feeling into story, so that what we recall is brightly painted, sturdily constructed, accessible, predictable and satisfactory. We can point it from far away and others can see it clearly. Like the tallest towers in the city, from a distance, our beginnings and endings are all that can be seen.

David Jeremiah, in his recent book (What in the World is Going On?, Thomas Nelson, 2008), agrees that the invasion of Israel by Russia and its Muslim allies “will precede the Battle of Armageddon, (and) will be a massive, Russian-led coalition of nations coming against Israel like swarms of hornets against a defenseless child.” Following the details of the aborted Russian/Muslim invasion in Ezekiel chapter 38-39 we find detailed architectural plans for the third Temple in Ezekiel chapters 40-48. That is not a coincidental placement. Once Israel survives the Russian/Muslim invasion, especially in the way she will be protected by what will clearly be seen world-wide as divine intervention, Israel will quickly move to build the Temple. It will be like a ‘world war memorial’ to Israel’s victory.

Architectural photography can involve a lot of waiting; the building becomes a kind of sundial, while you wait for a shadow to crawl away from a detail you want, or for the mass and balance of the structure to reveal itself in a certain way.

Ritual characterizes every aspect of life here, and even mundane, daily activities take on an ageless quality. The daily rhythm begins at dawn, as the fishermen launch boats from countless harbors, an event that has taken place for centuries. The women go to market, exchanging greetings and comments. Ritual rules the care and time taken with every detail of the midday meal, from the hearty seafood appetizers to the strong, syrupy coffee that marks the end of the feast. The day winds down with the evening stroll, a tradition thoroughly ingrained in the culture of the Greek Isles. In villages and towns throughout the islands, sunset brings cooler air and draws people from their homes and the beaches for an enjoyable evening walk through town squares, portside promenades, and narrow streets. Ancient crafts still flourish in the artisans’ studios and in tidy homes of countless mountain villages and ports. Embroidery--traditionally the province of Greek women--is created by hand to adorn the regional costumes worn during festivals. Artists craft delicate silver utensils, engraved gems, blown glass, and gold jewelry. Potters create ceramic pieces featuring some of the same decorative patterns and mythological subjects that captured their ancestors’ imagination. Weddings, festivals, saints’ days. And other celebrations with family and friends provide a backdrop for grave and energetic Greek dancing. For centuries--probably ever since people have lived on the islands--Greek islanders have seized every opportunity to play music, sing, and dance. Dancing in Greece is always a group activity, a way to create and reinforce bonds among families, friends, and communities, and island men have been dancing circle dances like the Kalamatianos and the Tsamikos since antiquity. Musicians accompany revelers on stringed instruments like the bouzouki--the modern equivalent of the lyre. While traditional attire is reserved mainly for festive occasions, on some islands people still sport these garments daily. On Lefkada and Crete, it is not unusual to find men wearing vraka, or baggy trousers, and vests, along with the high boots known as stivania. Women wear long, dark, pleated skirts woven on a traditional loom, and long silk scarves or kerchiefs adorn their heads. All the garments are ornamented by hand with rich brocades and elaborate embroidery. All over the Greek Isles, Orthodox priests dress in long black robes, their shadowy figures contrasting with the bright whites, blues, and greens of Greek village architecture.

I do not feel like an alien in this universe. The more I examine the universe and study the details of its architecture, the more evidence I find that the universe in some sense must have known that we were coming.’ Freeman Dyson24

If you are building a health care system, then when new programmers look at the source repository, their first impression should be, “Oh, this is a heath care system.” Those new programmers should be able to learn all the use cases of the system, yet still not know how the system is delivered. They may come to you and say: “We see some things that look like models—but where are the views and controllers?” And you should respond: “Oh, those are details that needn’t concern us at the moment. We’ll decide about them later.

First, let’s consider the notion that using services, by their nature, is an architecture. This is patently untrue. The architecture of a system is defined by boundaries that separate high-level policy from low-level detail and follow the Dependency Rule. Services that simply separate application behaviors are little more than expensive function calls, and are not necessarily architecturally significant.

Dickens is obviously a writer whose parts are greater than his wholes. He is all fragments, all details—rotten architecture, but wonderful gargoyles...

Immediately beneath and about them the lines of the Gothic building plunged outwards into the void with a sickening swiftness akin to suicide. There is that element of Titan energy in the architecture of the Middle Ages that, from whatever aspect it be seen, it always seems to be rushing away, like the strong back of some maddened horse. This church was hewn out of ancient and silent stone, bearded with old fungoids and stained with the nests of birds. And yet, when they saw it from below, it sprang like a fountain at the stars; and when they saw it, as now, from above, it poured like a cataract into a voiceless pit. For these two men on the tower were left alone with the most terrible aspect of Gothic; the monstrous foreshortening and disproportion, the dizzy perspectives, the glimpses of great things small and small things great; a topsy-turvydom of stone in the mid-air. Details of stone, enormous by their proximity, were relieved against a pattern of fields and farms, pygmy in their distance. A carved bird or beast at a corner seemed like some vast walking or flying dragon wasting the pastures and villages below. The whole atmosphere was dizzy and dangerous, as if men were upheld in air amid the gyrating wings of colossal genii; and the whole of that old church, as tall and rich as a cathedral, seemed to sit upon the sunlit country like a cloudburst.

But Glass, in her research, discovered that if you dig a little deeper into people's infidelities, you can almost always see how the affair started long before the first stolen kiss. Most affairs begin, Glass wrote, when a husband or wife makes a new friend, and an apparently harmless intimacy is born. You don't sense the danger as it's happening, because what's wrong with friendship? Why can't we have friends of the opposite sex--or of the same sex, for that matter--even if we are married? The answer, as Dr. Glass explained, is that nothing is wrong with a married person launching a friendship outside of matrimony--so long as the "walls and windows" of the relationship remain in the correct places. It was Glass's theory that every healthy marriage is composed of walls and windows. The windows are the aspects of your relationship that are open to the world--that is, the necessary gaps through which you interact with family and friends; the walls are the barriers of trust behind which you guard the most intimate secrets of your marriage. What often happens, though, during so-called harmless friendships, is that you begin sharing intimacies with your new friend that belong hidden within your marriage. You reveal secrets about yourself--your deepest yearnings and frustrations--and it feels good to be so exposed. You throw open a window where there really ought to be a solid, weight-bearing wall, and soon you find yourself spilling your secret heart with this new person. Not wanting your spouse to feel jealous, you keep the details of your new friendship hidden. In so doing, you have now created a problem: You have just built a wall between you and your spouse where there really ought to be free circulation of air and light. The entire architecture of your matrimonial intimacy has therefore been rearranged. Every old wall is now a giant picture window; every old window is now boarded up like a crack house. You have just established the perfect blueprint for infidelity without even noticing.

Details derail sales. Buyers want to be stirred into action. American architect and urban designer Daniel Burnham understood this. When he was eulogized by his arch rival Frank Lloyd Wright as “an enthusiastic promoter of great construction enterprises,” Wright spoke to Burnham's sales abilities more than his architectural style, and said, “His powerful personality was supreme.

It was huge, stretching out in multiple corridors, with cell doors lining both sides of each passageway on multiple levels, interconnected by stairs and suspended ramps. The reception hall’s ceiling was made entirely out of glass, giving us a clear view of Purgatory’s cell rows. It was all stark and gray, with black metal and stainless steel bars and architectural details. It was a Brutalist’s dream, a recipe for emptiness and depression.

After plagiarizing the Egyptian heritage, the Jew has parasitically continued his cultural appropriation into yet another culture (i.e. the Semitic) and introduced the Egyptian Cow Yahweh (i.e. Hathor) into Scripture (i.e. Exodus 17:15) while describing in detailed manner the masonic architecture of erecting the quadrature columns (נָצַב) and pillars (נֵס) for this god.

It does not seem possible to me to conceive anything sadder than a monument composed of a smooth, naked and unadorned surface, of a light absorbent material, absolutely bare of details, and of which the decoration is formed by a composition of shadows, drawn by shadows still darker.

Paleontologists Stephen Jay Gould and Richard Lewontin wrote a paper in 1979 claiming that some of our skills and abilities might be like spandrels—the architectural negative spaces above the curve of the arches of buildings—details that weren’t originally designed as autonomous entities, but that came into being as a result of other, more practical elements around them. The linguist Noam Chomsky proposed that language itself might be an evolutionary spandrel—that the ability to form sentences might not have evolved directly but might be the by-product of some other, more pragmatic evolutionary development. In this view, many of the arts got a free ride along with the development of other, more prosaic qualities and cognitive abilities.

block project to help tourists navigate the convention corridor without passing out in the sweltering summer heat. Quinn + Scott had worked on two of the skybridges. Paul had given Claire a tour of all eighteen, taking her up and down elevators and escalators to access the glass-enclosed bridges spanning countless downtown streets. He’d pointed out various architectural details and told her stories about the buildings that had been torn down to clear way for new ones. The last part of the tour had ended at the Hyatt skybridge, which was closed off for construction