Architecture Design Quotes

We've searched our database for all the quotes and captions related to Architecture Design. Here they are! All 200 of them:

We need houses as we need clothes, architecture stimulates fashion. It’s like hunger and thirst — you need them both.
Karl Lagerfeld
First, Lord: No tattoos. May neither Chinese symbol for truth nor Winnie-the-Pooh holding the FSU logo stain her tender haunches. May she be Beautiful but not Damaged, for it’s the Damage that draws the creepy soccer coach’s eye, not the Beauty. When the Crystal Meth is offered, May she remember the parents who cut her grapes in half And stick with Beer. Guide her, protect her When crossing the street, stepping onto boats, swimming in the ocean, swimming in pools, walking near pools, standing on the subway platform, crossing 86th Street, stepping off of boats, using mall restrooms, getting on and off escalators, driving on country roads while arguing, leaning on large windows, walking in parking lots, riding Ferris wheels, roller-coasters, log flumes, or anything called “Hell Drop,” “Tower of Torture,” or “The Death Spiral Rock ‘N Zero G Roll featuring Aerosmith,” and standing on any kind of balcony ever, anywhere, at any age. Lead her away from Acting but not all the way to Finance. Something where she can make her own hours but still feel intellectually fulfilled and get outside sometimes And not have to wear high heels. What would that be, Lord? Architecture? Midwifery? Golf course design? I’m asking You, because if I knew, I’d be doing it, Youdammit. May she play the Drums to the fiery rhythm of her Own Heart with the sinewy strength of her Own Arms, so she need Not Lie With Drummers. Grant her a Rough Patch from twelve to seventeen. Let her draw horses and be interested in Barbies for much too long, For childhood is short – a Tiger Flower blooming Magenta for one day – And adulthood is long and dry-humping in cars will wait. O Lord, break the Internet forever, That she may be spared the misspelled invective of her peers And the online marketing campaign for Rape Hostel V: Girls Just Wanna Get Stabbed. And when she one day turns on me and calls me a Bitch in front of Hollister, Give me the strength, Lord, to yank her directly into a cab in front of her friends, For I will not have that Shit. I will not have it. And should she choose to be a Mother one day, be my eyes, Lord, that I may see her, lying on a blanket on the floor at 4:50 A.M., all-at-once exhausted, bored, and in love with the little creature whose poop is leaking up its back. “My mother did this for me once,” she will realize as she cleans feces off her baby’s neck. “My mother did this for me.” And the delayed gratitude will wash over her as it does each generation and she will make a Mental Note to call me. And she will forget. But I’ll know, because I peeped it with Your God eyes.
Tina Fey (Bossypants)
Bad architecture is in the end as much a failure of psychology as of design. It is an example expressed through materials of the same tendencies which in other domains will lead us to marry the wrong people, choose inappropriate jobs and book unsuccessful holidays: the tendency not to understand who we are and what will satisfy us.
Alain de Botton (The Architecture of Happiness)
A great building must begin with the immeasurable, must go through measurable means when it is being designed, and in the end must be unmeasured.
Louis I. Kahn
The ideal architect should be a man of letters, a skillful draftsman, a mathematician, familiar with historical studies, a diligent student of philosophy, acquainted with music, not ignorant of medicine, learned in the responses of jurisconsults, familiar with astronomy and astronomical calculations.
Vitruvius
When they first built the University of California at Irvine they just put the buildings in. They did not put any sidewalks, they just planted grass. The next year, they came back and put the sidewalks where the trails were in the grass. Perl is just that kind of language. It is not designed from first principles. Perl is those sidewalks in the grass.
Larry Wall
I don't want to be interesting. I want to be good.
Mies Van de Rohe
The new architecture and urban design of segregation could be called Calvinist: they reflect a desire to live in a world of predestination rather than chance, to strip the world of its wide-open possibilities and replace them with freedom of choice in the marketplace.
Rebecca Solnit (Wanderlust: A History of Walking)
Architects, if they are really to be comprehensive, must assume the enormous task of thinking in terms always disciplined to the scale of the total world pattern of needs, its resource flows, its recirculatory and regenerative processes.
R. Buckminster Fuller (Ideas and Integrities: A Spontaneous Autobiographical Disclosure)
There is an effective strategy open to architects. Whereas doctors deal with the interior organisms of man, architects deal with the exterior organisms of man. Architects might join with one another to carry on their work in laboratories as do doctors in anticipatory medicine.
R. Buckminster Fuller (Ideas and Integrities: A Spontaneous Autobiographical Disclosure)
Design a flight of stairs for the day a nervous bride descends them. Shape a window to frame a view of a specific tree on a perfect day in autumn.
Matthew Frederick (101 Things I Learned in Architecture School)
It is new design by architects versus world revolution by political leadership.
R. Buckminster Fuller (Ideas and Integrities: A Spontaneous Autobiographical Disclosure)
A new, self-employed architect scientist is the one in all the world who may accelerate realization of a high-standard survival for all, as now completely practical within the scope of available technology.
R. Buckminster Fuller (Ideas and Integrities: A Spontaneous Autobiographical Disclosure)
Good design is a renaissance attitude that combines technology, cognitive science, human need, and beauty to produce something that the world didn’t know it was missing.” —PAOLA ANTONELLI, curator of architecture and design, Museum of Modern Art
Daniel H. Pink (A Whole New Mind: Why Right-Brainers Will Rule the Future)
The self-commissioned architect is the obviously exclusive potential - for as at present used, or designed, the world's resources are serving only forty-four per cent of humanity.
R. Buckminster Fuller (Ideas and Integrities: A Spontaneous Autobiographical Disclosure)
It's about enabling the generation of materials and structures designed to interact, adapt and respond to the natural environment.
Neri Oxman
Any organisation that designs a system will produce a design whose structure is a copy of the organisation's communication structure
Robert C. Martin (Clean Architecture)
For the first time in architectural history, we're approaching the resolution and complexity of the natural world by creating new technologies that will ultimately enable us to design a beam as if it were a branch or an HVAC and waste removal system as if it were a photosynthetic GI tract engineered to convert carbon into biofuel.
Neri Oxman
When we're able to communicate in nature's language; when we're able to transcend the view that nature is a boundless entity; even transcending the building as the kernel of the architectural project; when we invite scientific inquiry and technological innovation, fusing atoms with bits and bits with genes - only then will the art of building enable new forms of interaction between humans and their environment. Only then will we be able to design, construct and evolve as equals.
Neri Oxman
Architecture and urban design, both in their formal and spatial aspects, are seen as fundamentally configurational in that the way the parts are put together to form the whole is more important than any of the parts taken in isolation.
Bill Hillier (Space Is the Machine: A Configurational Theory of Architecture)
Let's put heterogeneity over homogeneity. We need to design materials that can restore or rewild biodiversity on the planet. When ecosystems are more diverse, they are better able to perform essential ecosystem services like carbon sequestration.
Neri Oxman (Neri Oxman: Material Ecology)
Being process-oriented, not product-driven, is the most important and difficult skill for a designer to develop.
Matthew Frederick (101 Things I Learned in Architecture School)
When Kleiner showed me the sky-line of New York I told him that man is like the coral insect — designed to build vast, beautiful, mineral things for the moon to delight in after he is dead.
H.P. Lovecraft
Design is a fundamental human activity, relevant and useful to everyone. Anything humans create—be it product, communication or system—is a result of the process of making inspiration real. I believe in doing what works as circumstances change: quirky or unusual solutions are often good ones. Nature bends and so should we as appropriate. Nature is always right outside our door as a reference and touch point. We should use it far more than we do.
Maggie Macnab (Design by Nature: Using Universal Forms and Principles in Design)
After 1980, you never heard reference to space again. Surface, the most convincing evidence of the descent into materialism, became the focus of design. Space disappeared.
Arthur Erickson
Good ideas come from everywhere. It's more important to recognize a good idea than to author it.
Jeanne Gang
When Art struggles, it succeeds; when revelling in its own successes, it as singularly fails.
Owen Jones
Design is fluid. It's liquid. It moves like water and fills every space...
Justin Matthew Vance
I'm trained as an architect; writing is like architecture. In buildings, there are design motifs that occur again and again, that repeat -- patterns, curves. These motifs help us feel comfortable in a physical space. And the same works in writing, I've found. For me, the way words, punctuation and paragraphs fall on the page is important as well -- the graphic design of the language. That was why the words and thoughts of Estha and Rahel, the twins, were so playful on the page ... I was being creative with their design. Words were broken apart, and then sometimes fused together. "Later" became "Lay. Ter." "An owl" became "A Nowl." "Sour metal smell" became "sourmetal smell." Repetition I love, and used because it made me feel safe. Repeated words and phrases have a rocking feeling, like a lullaby. They help take away the shock of the plot -- death, lives destroyed or the horror of the settings -- a crazy, chaotic, emotional house, the sinister movie theater.
Arundhati Roy
Dijkstra once said, “Testing shows the presence, not the absence, of bugs.” In other words, a program can be proven incorrect by a test, but it cannot be proven correct. All that tests can do, after sufficient testing effort, is allow us to deem a program to be correct enough for our purposes.
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
All race conditions, deadlock conditions, and concurrent update problems are due to mutable variables.
Robert C. Martin (Clean Architecture)
All buildings have a psychological as well as a purely visual effect on the landscape.
Elisabeth Beazley (Designed For Recreation: A Practical Handbook For All Concerned With Providing Leisure Facilities In The Countryside)
Sustainability is now a big baggy sack in which people throw all kinds of old ideas, hot air and dodgy activities in order to be able to greenwash their products and feel good.
Kevin McCloud (Kevin McCloud's 43 Principles of Home: Enjoying Life in the 21st Century.)
...Because beauty is typically the result of a few qualities working in concert, it can take more to guarantee the appeal of a bridge or a house than strength alone. (p 205)
Alain de Botton (The Architecture of Happiness)
It is a building designed by committee: all they have been able to agree on is that it should be rectangular, have windows, and not fall over.
Max Barry (Company)
Science does not work by proving statements true, but rather by proving statements false.
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
[The building] had been designed by an architect, so it bore little resemblance to any normal structure.
Gary Corby (The Pericles Commission (The Athenian Mysteries, #1))
Modernist design at large has housed the intellect and the eye, but it has left the body and the other senses, as well as our memories, imagination and dreams, homeless.
Juhani Pallasmaa (The Eyes of the Skin: Architecture and the Senses)
The city is not merely a repository of pleasures. It is the stage on which we fight our battles, where we act out the drama of our own lives. It can enhance or corrode our ability to cope with everyday challenges. It can steal our autonomy or give us the freedom to thrive. It can offer a navigable environment, or it can create a series of impossible gauntlets that wear us down daily. The messages encoded in architecture and systems can foster a sense of mastery or helplessness.
Charles Montgomery (Happy City: Transforming Our Lives Through Urban Design)
In merging nature and culture the most successful cities combine such universal needs as maintaining or restoring contact with the cycles of nature, with specific, local characteristics.
Sally A. Kitt Chappell (Chicago's Urban Nature: A Guide to the City's Architecture + Landscape)
What’s amazing is that things like hashtag design—these essentially ad hoc experiments in digital architecture—have shaped so much of our political discourse. Our world would be different if Anonymous hadn’t been the default username on 4chan, or if every social media platform didn’t center on the personal profile, or if YouTube algorithms didn’t show viewers increasingly extreme content to retain their attention, or if hashtags and retweets simply didn’t exist. It’s because of the hashtag, the retweet, and the profile that solidarity on the internet gets inextricably tangled up with visibility, identity, and self-promotion. It’s telling that the most mainstream gestures of solidarity are pure representation, like viral reposts or avatar photos with cause-related filters, and meanwhile the actual mechanisms through which political solidarity is enacted, like strikes and boycotts, still exist on the fringe.
Jia Tolentino (Trick Mirror)
In town and in country there must be landscapes where we can walk in safety, pick fruit, cycle, work, sleep, swim, listen to the birds, bask in the sun, run through the trees and laze beside cool waters.
Tom Turner (Landscape Planning and Environmental Design)
To speak in nature's language, we must prioritize bio-based structural materials; biopolymers. Biopolymers are natural polymers produced by the cells of living organisms. We're already utilizing them in products, pharma, and even in fashion. But to deploy them on the architectural scale, we need to invest in design and construction technologies that emulate their heirarchical properties by engineering real time chemical formation.
Neri Oxman
Cloud first software architecture is critical to designing efficient systems. All the hardware need to be capable of the most sophisticated things and then we can focus our attention on improving software capabilities.
Hendrith Vanlon Smith Jr, CEO of Mayflower-Plymouth
For us to deem a work of architecture elegant, it is hence not enough that it look simple: we must feel that the simplicity it displays has been hard won, that it flows from the resolution of demanding technical or natural predicament. Thus we call the Shaker staircase in Pleasant Hill elegant because we know--without ever having constructed one ourselves--that a staircase is a site complexity, and that combinations of treads, risers and banisters rarely approach the sober intelligibility of the Sharkers' work. We deem a modern Swiss house elegant because we not how seamlessly its windows have been joined to their concrete walls, and how neatly the usual clutter of construction has been resolved away. We admire starkly simple works that we intuit would, without immense effort, have appeared very complicated. (p 209)
Alain de Botton (The Architecture of Happiness)
The pursuit of beauty. The word is hard to articulate. As soon as you open your moth, it flies off, like a bird of paradise. Beauty can not be caught, but we are obliged to reach for it. Beauty is not neutral; pursuing it is a political act. Building is a grand act, a gesture toward peace, the opposite of destruction.
Renzo Piano (Atlantis: A Journey in Search of Beauty)
[Donald] Keene observed [in a book entitled The Pleasures of Japanese Literature, 1988] that the Japanese sense of beauty has long sharply differed from its Western counterpart: it has been dominated by a love of irregularity rather than symmetry, the impermanent rather than the eternal and the simple rather than the ornate. The reason owes nothing to climate or genetics, added Keene, but is the result of the actions of writers, painters and theorists, who had actively shaped the sense of beauty of their nation. Contrary to the Romantic belief that we each settle naturally on a fitting idea of beauty, it seems that our visual and emotional faculties in fact need constant external guidance to help them decide what they should take note of and appreciate. 'Culture' is the word we have assigned to the force that assists us in identifying which of our many sensations we should focus on and apportion value to.
Alain de Botton (The Architecture of Happiness)
Great beauty can be found in harmonious contrast variations, and brief uses of extremes. Vastly.
Apsixaristw
Our language choices change how we use our time and energy. For every word we use to describe where we want to go, there's another word that we're walking away from.
Abby Covert (How to Make Sense of Any Mess: Information Architecture for Everybody)
Landscape design theory has been rotting away, peacefully, like a garden temple, since the close of the eighteenth century.
Tom Turner (City as Landscape: A Post Post-Modern View of Design and Planning)
the most important part of design is finding all the issues to be resolved. The rest are details
Soumeet Lanka
In pursuing a ‘way,’ Japanese typically move beyond an interest in craftsmanship to a kind of sacred search for the ultimate.
Morinosuke Kawaguchi (Geeky-Girly Innovation: A Japanese Subculturalist's Guide to Technology and Design)
                •   Initiation, business requirements, architecture and design,
William Dow (The Tactical Guide for Building a PMO)
Leadership is therefore defined as the ability to influence those whom we do not control.
Jamshid Gharajedaghi (Systems Thinking: Managing Chaos and Complexity: A Platform for Designing Business Architecture)
Behavior of a system whose parts display a choice cannot be explained by mechanical or biological models.
Jamshid Gharajedaghi (Systems Thinking: Managing Chaos and Complexity: A Platform for Designing Business Architecture)
Just as the Hare was overconfident in its speed, so the developers are overconfident in their ability to remain productive.
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
The first value of software—behavior—is urgent but not always particularly important. The second value of software—architecture—is important but never particularly urgent.
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
This is the monstrosity in love, lady, that the will is infinite, and the execution confined; that the desire is boundless, and the act a slave to limit. —William Shakespeare
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
For a thing’s beauty we ought to compliment not its owner but its maker.
Mokokoma Mokhonoana
It was just past midnight and I was trudging through the St. Louis Greyhound station, a grim building obviously brought to you by the people who design high school bathrooms.
Jordan K. Weisman (Cathy's Key (Cathy Vickers Trilogy, #2))
For example, they recently had a piece on a character--I think his name was Ambrosio D'Urbervilles--whose "design statement" was to stuff an entire apartment from floor to ceiling with dark purple cottonballs. He called it "Portrait of a Dead Camel Dancing on the Roof of a Steambath.
Mark Helprin (Winter's Tale)
The tragedy of feminine design is that it receives so little official support. Most of the world's design schools, having been organized by men, encourage a masculine approach, even when they are run by women. Yet many designers who are male in the biological sense have a feminine approach to design.
Tom Turner (City as Landscape: A Post Post-Modern View of Design and Planning)
Modern evangelicals like to compare holy things to soft drinks, designer clothes, [and other products in] our modern consumerist culture. The problem with this is not ... the comparison to a created thing. The problem is that it is ... bad poetry. The Bible compares God to very mundane things, but does so with poetic wonder. God "shall come down like rain upon the mown grass; as showers that water the earth.
Douglas Wilson (Angels in the Architecture: A Protestant Vision for Middle Earth)
Parks, plazas, gardens, and rooftops are culture-producing places, not merely place for retreat. Sidewalks and bridges become ends in themselves instead of just a means of getting from one place to another.
Sally A. Kitt Chappell
The computer is usually seen as a solely beneficial invention, which liberates human fantasy and facilitates efficient design work. I wish to express my serious concern in this respect, at least considering the current role of the computer in education and the design process. Computer imaging tends to flatten our magnificent, multi-sensory, simultaneous and synchronic capacities of imagination by turning the design process into a passive visual manipulation, a retinal journey. The computer creates a distance between the maker and the object, whereas drawing by hand as well as working with models put the designer in a haptic contact with the object, or space. In our imagination, the object is simultaneously held in the hand and inside the head, and the imagined and projected physical image is modelled by our embodied imagination. We are inside and outside of the conceived object at the same time.
Juhani Pallasmaa (The Eyes of the Skin: Architecture and the Senses)
Cities and landscapes are illustrations of our spiritual and material worth. They not only express our values but give them a tangible reality. They determine the way in which we use or squander our energy, time, and land resources.
Leon Krier
Reading was only part of the thrill that a book represented. I got a dizzy pleasure from the weight and feel of a new book in my hand, a sensual delight from the smell and crispness of the pages. I loved the smoothness and bright colors of their jackets. For me, a stacked, unread pyramid of books was one of the sexiest architectural designs there was, because what I loved most about books was their promise, the anticipation of what lay between the covers, waiting to be found.
Debra Ginsberg (Blind Submission)
Businesses are better positioned in cities that prioritize sustainability. For example, business leaders look at the architectural environment - whether or not the buildings in the city designed for efficiency and resiliency. Business leaders look at energy - whether or not solar and other renewable energy sources are designed into the city's systems. And business leaders look at a variety of other factors regarding sustainability when they're deciding where to establish or relocate a business. So cities that prioritize sustainable development are positioning themselves to be hubs of business success.
Hendrith Vanlon Smith Jr (Principles of a Permaculture Economy)
Everything around you was architected by another person. Whether or not they were aware of what they were doing. Whether or not they did a good job. Whether or not they delegated the task to a computer. Information is a responsibility we all share.
Abby Covert (How to Make Sense of Any Mess: Information Architecture for Everybody)
Trying to design or reclaim places is, therefore, rather like trying to make or modify life itself. In this effort, it is wisest to adopt the gentle patient manner of an environmental midwife, while rejecting utterly the machine-driven arrogance of some environmental equivalent to a genetic engineer. By such gentle means places might flourish again, but also the world might become less threatened.
Edward Relph
His office was a spider’s lair of silver thread and tempting promises, a page out of Power Architecture Magazine. The dean copied the design from President Lyndon Johnson’s old senate office. The room narrowed toward his desk, an architectural device that channeled all eyes toward the dean, and his chair was slightly elevated, forcing visitors to look up. The two visitors’ chairs were both lowered and oversized, making each guest feel like a child, swimming in too much chair. His architect had assured him it was a subliminal masterpiece.
Michael Ben Zehabe
And now we come to the Heart of our Designe: the art of Shaddowes you must know well, Walter, and you must be instructed how to Cast them with due Care. It is only the Darknesse that can give trew Forme to our Work and trew Perspective to our Fabrick, for there is no Light without Darknesse and no Substance without Shaddowe (and I turn this Thought over in my Mind: what Life is there which is not a Portmanteau of Shaddowes and Chimeras?). I build in the Day to bring News of the Night and of Sorrowe, I continued, and then I broke off for Walter's sake.
Peter Ackroyd (Hawksmoor)
We seem incapable of looking at buildings or pieces of furniture without tying them to the historical and personal circumstances of our viewing; as a result, architectural and decorative styles become, for us, emotional souvenirs of the moments and settings in which we came across them.
Alain de Botton (The Architecture of Happiness)
When the lessons of symbolic or philosophical mathematics seen in nature, which were designed into religious architecture or art, are applied functionally (not just intellectually) to facilitate the growth and transformation of consciousness, then mathematics may rightly be called “sacred.
Michael S. Schneider (A Beginner's Guide to Constructing the Universe: The Mathematical Archetypes of Nature, Art, and Science)
I believe I’m very normal. I’m hyper-normal. I’m more normal than anyone else I know. I think my thoughts, my indulgences, my desires, my pleasures may at first appear different, but that is only because they are more normal, not because they are more esoteric. I believe I am bored when other people are bored, only faster. I am interested when others are interested, only more interested. But I also think I’m less, rather than more, intelligent than other people. By indulging my interests through my life, and perhaps because of rather than despite many failures, I have been able to design my life.
Richard Saul Wurman (Information Anxiety 2)
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.
Freeman Dyson
Luckily, scientists have uncovered a few secrets to help make the process of creating habits easier. In their bestselling book Nudge, the economist Richard Thaler and the law professor Cass Sunstein show how to influence other people’s behavior through carefully designed choices, or what they called “choice architecture.” You
Susan David (Emotional Agility: Get Unstuck, Embrace Change, and Thrive in Work and Life)
In the last few years, making things more usable has become almost everybody’s responsibility. Visual designers and developers now often find themselves doing things like interaction design (deciding what happens next when the user clicks, taps, or swipes) and information architecture (figuring out how everything should be organized). I
Steve Krug (Don't Make Me Think, Revisited: A Common Sense Approach to Web Usability)
Paradoxically, minimalism is the maximum use of space.
Mokokoma Mokhonoana
The main lesson here is that not every problem can be solved at the level of abstraction where it manifests.
Michael T. Nygard (Release It!: Design and Deploy Production-Ready Software (Pragmatic Programmers))
Design has killed architecture. Design is what they teach in the schools.
Le Corbusier (When the Cathedrals Were White)
If you think good architecture is expensive, try bad architecture. —Brian Foote and Joseph Yoder
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
Particularly in the past fifty years the world has gradually been finding out something that architects have always known—that is—that everything is architecture. Charles Eames
John Harwood (The Interface: IBM and the Transformation of Corporate Design, 1945–1976)
...the Office's prime approach to architecture... is one of continuous ANTICIPATORY DESIGN.
Cedric Price (Re: CP)
C.P. Office sees its particular product (buildings) as the readily recognisable parts of its continuous design process.
Cedric Price (Re: CP)
...architects (should) involve themselves continuously in anticipatory design as recommended by Buckminster Fuller
Cedric Price (The Square Book)
Modern architecture has the potential to send you to an early grave.
Steven Magee
The problem that Dijkstra recognized, early on, was that programming is hard, and that programmers don’t do it very well.
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
Architecture is slow and therefore requires anticipatory design.
Cedric Price
I am convinced that something out of the ordinary, if not truly unique, is occurring in Toronto. It feels like the city is emerging from a chrysalis.
Ken Greenberg (Toronto Reborn: Design Successes and Challenges)
Our designs go wrong because our feelings of contentment are woven from fine and unexpected filaments.
Alain de Botton (The Architecture of Happiness)
people believed that architecture could be designed to generate a psychological effect.
Grady Hendrix (Horrorstör)
Simple is complicated.
HEDoffice
Architecting for the enterprise, when all you really need is a cute little desktop tool, is a recipe for failure.
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
First Law of Distributed Object Design: Don’t distribute your objects!
Martin Fowler (Patterns of Enterprise Application Architecture)
But Mom, I am one of the greatest architects of all times, I’m the founder of modern architecture, I can’t do a traditional house for y….Aoutch! Okay, Okay.” –attributed to Le Corbusier
William J. Hirsch Jr. (Designing Your Perfect House)
Like so many of the decisions to exclude women in the interests of simplicity, from architecture to medical research, this conclusion could only be reached in a culture that conceives of men as the default human and women as a niche aberration. To distort a reality you are supposedly trying to measure makes sense only if you don’t see women as essential. It makes sense only if you see women as an added extra, a complicating factor. It doesn’t make sense if you’re talking about half of the human race. It doesn’t make sense if you care about accurate data.
Caroline Criado Pérez (Invisible Women: Data Bias in a World Designed for Men)
A thought provoking number of the world's most intelligent people have disdained any interest in decoration and design, equating contentment with discarnate and invisible matters instead.
Alain de Botton (The Architecture of Happiness)
It is pleasurable to press a door handle shining from the thousands of hands that have entered the door before us; the clean shimmer of ageless wear has turned into an image of welcome and hospitality. The door handle is the handshake of the building. The tactile sense connects us with time and tradition: through impressions of touch we shake the hands of countless generations.
Juhani Pallasmaa (The Eyes of the Skin: Architecture and the Senses)
Finding a taxi, she felt like a child pressing her nose to the window of a candy store as she watched the changing vista pass by while the twilight descended and the capital became bathed in a translucent misty lavender glow. Entering the city from that airport was truly unique. Charles de Gaulle, built nineteen miles north of the bustling metropolis, ensured that the final point of destination was veiled from the eyes of the traveller as they descended. No doubt, the officials scrupulously planned the airport’s location to prevent the incessant air traffic and roaring engines from visibly or audibly polluting the ambience of their beloved capital, and apparently, they succeeded. If one flew over during the summer months, the visitor would be visibly presented with beautifully managed quilt-like fields of alternating gold and green appearing as though they were tilled and clipped with the mathematical precision of a slide rule. The countryside was dotted with quaint villages and towns that were obviously under meticulous planning control. When the aircraft began to descend, this prevailing sense of exactitude and order made the visitor long for an aerial view of the capital city and its famous wonders, hoping they could see as many landmarks as they could before they touched ground, as was the usual case with other major international airports, but from this point of entry, one was denied a glimpse of the city below. Green fields, villages, more fields, the ground grew closer and closer, a runway appeared, a slight bump or two was felt as the craft landed, and they were surrounded by the steel and glass buildings of the airport. Slightly disappointed with this mysterious game of hide-and-seek, the voyager must continue on and collect their baggage, consoled by the reflection that they will see the metropolis as they make their way into town. For those travelling by road, the concrete motorway with its blue road signs, the underpasses and the typical traffic-logged hubbub of industrial areas were the first landmarks to greet the eye, without a doubt, it was a disheartening first impression. Then, the real introduction began. Quietly, and almost imperceptibly, the modern confusion of steel and asphalt was effaced little by little as the exquisite timelessness of Parisian heritage architecture was gradually unveiled. Popping up like mushrooms were cream sandstone edifices filigreed with curled, swirling carvings, gently sloping mansard roofs, elegant ironwork lanterns and wood doors that charmed the eye, until finally, the traveller was completely submerged in the glory of the Second Empire ala Baron Haussmann’s master plan of city design, the iconic grand mansions, tree-lined boulevards and avenues, the quaint gardens, the majestic churches with their towers and spires, the shops and cafés with their colourful awnings, all crowded and nestled together like jewels encrusted on a gold setting.
E.A. Bucchianeri (Brushstrokes of a Gadfly, (Gadfly Saga, #1))
Just because an interesting idea occurs to you doesn't mean it belongs in the building you are designing. Subject every idea, brainstorm, random musing, and helpful suggestion to careful, critical consideration.
Matthew Frederick (101 Things I Learned in Architecture School)
...his house was large and strived to be impressive. It had a lot of glass and redwood in its makeup and was obviously designed by someone who idolized Frank Lloyd Wright without quite grasping his basic principles.
Ron Goulart (Groucho Marx, Master Detective)
When classical architecture was revived during the Renaissance, every educated person knew that it symbolised admiration for the achievements of the ancient world. Architecture had become a metaphor for civilisation.
Tom Turner (City as Landscape: A Post Post-Modern View of Design and Planning)
My places were emotional, primarily. I wrote of locales in which I had lived, or in which I imagined I could live, but the topography was primal and sexual and terminal. It bore no distinct architecture or design or dialect. It was merely human and in peril, which is to say universal. But on Royal and Coliseum and Vista--streets I cannot relinquish--I found my places and I dreamed a narrative. Can I go there and find it again?"--Tennessee Williams
James Grissom (Follies of God: Tennessee Williams and the Women of the Fog)
The intelligence we will create from the reverse-engineering of the brain will have access to its own source code and will be able to rapidly improve itself in an accelerating iterative design cycle. Although there is considerable plasticity in the biological human brain, as we have seen, it does have a relatively fixed architecture, which cannot be significantly modified, as well as a limited capacity. We are unable to increase its 300 million pattern recognizers to, say, 400 million unless we do so nonbiologically. Once we can achieve that, there will be no reason to stop at a particular level of capability. We can go on to make it a billion pattern recognizers, or a trillion.
Ray Kurzweil
Sunday “Well then, as I have just told you, they devoted each day of the week to productions in one or another special branch of knowledge—either works of their hands, or some other form of consciously designed being-manifestation “Thus, Monday was devoted to the first group, and this day was called the ‘day of religious and civil ceremonies’, “Tuesday was allotted to the second group, and was called the ‘day of architecture’, “Wednesday was called the ‘day of painting’, “Thursday, the ‘day of religious and popular dances’, “Friday, the ‘day of sculpture’, “Saturday, the ‘day of the mysteries’ or, as it was also called, the ‘day of the theater’, “Sunday, the ‘day of music and song
G.I. Gurdjieff (Beelzebub's Tales to His Grandson)
Some houses are beautiful because they have a beautiful design; some houses are great because they are built in a great location and some houses are extraordinary because they have both a beautiful design and a wonderful environment!
Mehmet Murat ildan
Nature is an increasingly influential part of building design—we are being guided by trees, rather than overwhelming them. New architecture is finding innovative methods to incorporate natural landscapes into, onto, and around buildings.
Marc Kushner (The Future of Architecture in 100 Buildings)
The arts which we now call garden design and landscape design have three separate origins: sacred space, horticultural space and domestic space. Like Homo sapiens, the arts of garden and landscape design probably spread to Europe from West Asia.
Tom Turner (British Gardens: History, Philosophy and Design)
For a brief period of time the American electric-sign industry looked beyond its most immediate market and collaborated with store designers and architects in creating a style which became known as 'stream-line.' Later it became known as 'American Déco.' Whatever it was called or will be called in the future, it represents in terms of neon a thrust away from isolated signage toward an area of architectural ornamentation in which signage is but one element in an overall plan. — Rudi Stern
Philip Di Lemme (American Streamline: A Handbook Of Neon Advertising Design)
The rich sought to conquer one another on battlefields of architectural grandeur. Society fought wars in ballrooms and twinkling parlors, wielding the most haute of designers and decor as their weapons of choice, Italian marble beneath their feet.
Denise Kiernan (The Last Castle)
The English team’s revisions showed that the Cambrian had been a time of unparalleled innovation and experimentation in body designs. For almost four billion years life had dawdled along without any detectable ambitions in the direction of complexity, and then suddenly, in the space of just five or ten million years, it had created all the basic body designs still in use today. Name a creature, from a nematode worm to Cameron Diaz, and they all use architecture first created in the Cambrian party.
Bill Bryson (A Short History of Nearly Everything)
Why should this matter? Why not accept the little fake church as a playful, harmless, adorable architectural oddity, as the lovers of kitsch do? Because it's a bad building, cheaply cute, out-of-scale, symbolically false, and stuck in the middle of a parking lot, a little noplace that contributes to the greater noplace. Because if the town had not been degraded by other bad buildings and bad design relationships, there would be no need for its mendacious symbolism, which cheapens the town a little more.
James Howard Kunstler (The Geography of Nowhere: The Rise and Decline of America's Man-Made Landscape)
Play on lively, diversified sidewalks differs from virtually all other daily incidental play offered American children today: It is play not conducted in a matriarchy. Most city architectural designers and planners are men. Curiously, they design and plan to exclude men as part of normal, daytime life wherever people live. In planning residential life, they aim at filling the presumed daily needs of impossibly vacuous housewives and preschool tots. They plan, in short, strictly for matriarchal societies.
Jane Jacobs (The Death and Life of Great American Cities)
A digital computer is essentially a huge army of clerks, equipped with rule books, pencil and paper, all stupid and entirely without initiative, but able to follow millions of precisely defined operations. The difficulty lies in handing over the rule book.
Christopher W. Alexander
Feminism, in its fullest meaning, enjoins the human race to establish zones of liberation, and literally to reshape the territorial definition of our patriarchal world, along with the social identities and injustices that those boundaries have defined for all of us.
Leslie Weisman (Discrimination by Design: A Feminist Critique of the Man-Made Environment)
1. “First make it work.” You are out of business if it doesn’t work. 2. “Then make it right.” Refactor the code so that you and others can understand it and evolve it as needs change or are better understood. 3. “Then make it fast.” Refactor the code for “needed” performance.
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
So it's not an architectural masterpiece. When Da5id and Hiro and the other hackers wrote The Black Sun, they didn't have enough money to hire architects or designers, so they just went in for simple geometric shapes. The avatars milling around the entrance don't seem to care.
Neal Stephenson (Snow Crash)
Foundational design principles regarding aesthetics, symbolism and meaning of place were for the old-timer carpenter, simply routine. Unfortunately, these principles began to lose their footing in the late 1800s, when building practices shifted toward more commercial technologies.
Shannon Taylor Scarlett (Simple Rules: What the Oldtime Builders Knew)
This is natural selection, plain as day: the islanders have a simple rule: if it returns from the sea intact, copy it! They may have considerable comprehension of the principles of naval architecture that retrospectively endorse their favorite designs, but it is strictly unnecessary.
Daniel C. Dennett (Intuition Pumps and Other Tools for Thinking)
Since the late 1980s, woodworkers and cabinet makers have used vacuum press systems to build curved furniture and architectural components of all sizes and shapes—and, in many cases, to laminate inexpensive materials with exotic veneers. The method was born out of the aircraft manufacturing industry
Matt Berger (The Handmade Skateboard: Design & Build a Custom Longboard, Cruiser, or Street Deck from Scratch)
The Bretton Woods saga unfurled at a unique crossroads in modern history. An ascendant anticolonial superpower, the United States, used its economic leverage over an insolvent allied imperial power, Great Britain, to set the terms by which the latter would cede its dwindling dominion over the rules and norms of foreign trade and finance. Britain cooperated because the overriding aim of survival seemed to dictate the course. The monetary architecture that Harry White designed, and powered through an international gathering of dollar-starved allies, ultimately fell, its critics agree, of its own contradictions.
Benn Steil (The Battle of Bretton Woods: John Maynard Keynes, Harry Dexter White, and the Making of a New World Order)
We would prefer an architecture that is consistent with human feeling, and in which design decisions are based on observation and empirical verification. The bottom line is that buildings have to provide good, healthy environments for human beings, and to inflict the least possible damage to the Earth’s ecology.
NIkos Salingaros (Unified Architectural Theory: A COMPANION TO CHRISTOPHER ALEXANDER’S THE PHENOMENON OF LIFE — THE NATURE OF ORDER, BOOK 1)
An architect is a generalist, not a specialist-the conductor of a symphony, not a virtuoso who plays every instrument perfectly. As a practitioner, an architect coordinates a team of professionals that include structural and mechanical engineers, interior designers, building-code consultants, landscape architects, specifications writers, contractors, and specialists from other disciplines. Typically, the interests of some team members will compete with the interests of others. An architect must know enough about each discipline to negotiate and synthesize competing demands while honoring the needs of the client and the integrity of the entire project.
Matthew Frederick (101 Things I Learned in Architecture School)
It’s the only unique building on the isle, painted twenty different colors with topsy-turvy architecture and a sign that reads SLURPS AND BURPS: YOUR MERRY APOTHECARY. The door also belches when people enter or exit. And the inside of the store is a veritable maze of shelves filled with colorful vials in all different shapes and sizes, labeled with names like Fuzzy Fizz and Hush Slush. It also tends to smell of burning hair or dirty feet or some other strange byproduct of Kesler’s constant experiments—and all of this “quirkiness” is intentional. Kesler has made it abundantly clear that he designed the store specifically to make “the stuffy nobles” uncomfortable.
Shannon Messenger (Unlocked (Keeper of the Lost Cities, #8.5))
In the 1970s, while researching in the Library of Congress, I found an obscure history of religious architecture that assumed a fact as if it were common knowledge: the traditional design of most patriarchal buildings of worship imitates the female body. Thus, there is an outer and inner entrance, labia majora and labia minora; a central vaginal aisle toward the altar; two curved ovarian structures on either side; and then in the sacred center, the altar or womb, where the miracle takes place - where males gives birth. Though this comparison was new to to me, it struck home like a rock down a well. Of course, I thought. The central ceremony of patriarchal religions is one in which men take over the yoni-power of creation by giving birth symbolically. No wonder male religious leaders so often say that humans were born in sin - because we were born to female creatures. Only by obeying the rules of the patriarchy can we be reborn through men. No wonder priests and ministers in skirts sprinkle imitation birth fluid over our heads, give us new names, and promise rebirth into everlasting life. No wonder the male priesthood tries to keep women away from the altar, just as women are kept away from control of our own powers of reproduction. Symbolic or real, it's all devoted to controlling the power that resides in the female body.
Gloria Steinem (The Vagina Monologues)
To put this another way, burglary requires architecture. Not infrequently, only because of some aspect of a building’s design is burglary even possible. A blind spot, a vulnerability, a badly placed window, a shadowy alcove, an unlocked skylight, a useful proximity between one structure and the next—the burglar sees this opportunity and pounces.
Geoff Manaugh (A Burglar's Guide to the City)
The golden ratio has been used in art and architecture for thousands of years. Also called the golden section, the golden ratio describes a ratio of elements, such as height to width. The ratio is approximately 0.618. In other words, the smaller segment (for example, the width) is to the larger segment (the height) as the larger segment is to the sum of both segments.
Beth Tondreau (Layout Essentials: 100 Design Principles for Using Grids)
The curious part was this: most students said that they knew that social life would be more important to their happiness than architecture, yet they still put greater weight on physical features. This is the standard mis-weighing of extrinsic and intrinsic values: we may tell each other that experiences are more important than things, but we constantly make choices as though we didn’t believe
Charles Montgomery (Happy City: Transforming Our Lives Through Urban Design)
It is ridiculous to lay down to people where a thing should stand, design everything for them from the lavatory pan to the ashtray. On the contrary, I like people to move their furniture so that it suits them (not me!), and it's quite natural (and I approve) when they bring the old pictures and mementos they have come to love into a new interior, irrespective of whether they are good taste or bad.
Adolf Loos
When the Word became flesh and dwelt among us, he was a carpenter crafting works of wood with his hands, revealing to us the essence of his nature. The miracles he performed demonstrated that he had the power to mend and manipulate the architecture of matter, which he himself had designed. He was telling us who he was, telegraphing to the crowds that followed him, the Maker is walking in your midst.
Timothy Alberino (Birthright: The Coming Posthuman Apocalypse and the Usurpation of Adam's Dominion on Planet Earth)
Ronald Mace, a wheelchair user who became an architect devoted to the theory and practice of accessible architecture, is credited with introducing the term universal design to the public in 1985. In part, the coinage was strategic, recasting features of design that had been considered “special” as simply good design, resulting in products and buildings that were straightforwardly “usable by all people.
Sara Hendren (What Can a Body Do?: How We Meet the Built World)
The world is moving into a phase when landscape design may well be recognized as the most comprehensive of the arts. Man creates around him an environment that is a projection into nature of his abstract ideas. It is only in the present century that the collective landscape has emerged as a social necessity. We are promoting a landscape art on a scale never conceived of in history (Geoffrey Jellicoe, Landscape of man)
Tom Turner
The moon garden of the mansion was famous, having been designed with night-blooming flowers lining the pathways and hillocks of the landscape. They stepped through open doors, went down the wide stone steps, and were greeted by the heady perfume of late-blooming autumn flowers. The pale blossoms were lit from below, setting a mood of mystery. A fountain of natural stone rose up out of a pond surrounded by terra-cotta sculptures.
Susan Wiggs (The Lost and Found Bookshop)
The reason for the difference between the architectural and engineering 'climate', so to speak, is very complex. It is partly a matter of terminology, partly a matter of historical accident, and the consequent training of architects and engineers, and mostly a matter of what is commonly supposed to be the difference in content or context - architecture being concerned with producing works of art; engineering with utility structures.
Yanni Alexander Loukissas (Co-Designers: Cultures of Computer Simulation in Architecture)
The label “jack-of-all-trades but master of none” is normally meant to be derogatory, implying that the labelee lacks the focus to really dive into a subject and master it. But, when your online shopping application is on the fritz and you’re losing orders by the hundreds as each hour passes, it’s the jack-of-all-trades who not only knows how the application’s code works but can also do low-level UNIX debugging of your web server processes, analyze your RDBMS’s configuration for potential performance bottlenecks, and check your network’s router configuration for hard-to-find problems. And, more important, after finding the problem, the jack-of-all-trades can quickly make architecture and design decisions, implement code fixes, and deploy a new fixed system to production. In this scenario, the manufacturing scenario seems quaint at best and critically flawed at worst.
Chad Fowler (The Passionate Programmer: Creating a Remarkable Career in Software Development (Pragmatic Life))
Black is my Power! I am Gold for Purple. Gold of my Wisdom as well as my wealth! Purple is my dignity. The wisdom of my wealth is the dignity of my authority as I authorize my influence-ability. Progress I make as the Sage of the stage and ages with the Sagacity of Sage. My perfection I excel, the stage of perfection I rule as I write the script of success. The finest architecture is still in the mind, put your design in black and white.
Anyaele Sam Chiyson (The Sagacity of Sage)
We tend to think of grand organizations like corporations or empires coming about through deliberate human planning: designing the conceptual architecture for each imposing structure, brick by brick. But the shape an institution ultimately takes is not so much designed in advance by a master engineer as it is carved away by challenges to its outer boundaries, the way a coastline is partly formed by an endless battering of much smaller waves.
Steven Johnson (Enemy of All Mankind: A True Story of Piracy, Power, and History's First Global Manhunt)
We therefore find that the triangles and rectangles herein described, enclose a large majority of the temples and cathedrals of the Greek and Gothic masters, for we have seen that the rectangle of the Egyptian triangle is a perfect generative medium, its ratio of five in width to eight in length 'encouraging impressions of contrast between horizontal and vertical lines' or spaces; and the same practically may be said of the Pythagorean triangle
Samuel Colman (Harmonic Proportion and Form in Nature, Art and Architecture)
To achieve these goals [of making good landscapes}, there is but one necessity: when preparing and approving plans for new places, or spending money on old places, we must look beyond the confines of each and every project. Gazing at these wider horizons, we shall see that development projects are initiated by specialists who have been imprisioned within "closely drawn technical limits" and "narrowly drawn territorial boundaries" (Weddle 1967; vii).
Tom Turner (Landscape Planning and Environmental Design)
The Ankh-Morpork Central Post Office had a gaunt frontage. It was a building designed for a purpose. It was, therefore, more or less, a big box to employ people in, with two wings at the rear, which enclosed the big stable yard. Some cheap pillars had been sliced in half and stuck on the outside, some niches had been carved for some miscellaneous stone nymphs, some stone urns had been ranged along the parapet, and thus Architecture had been created.
Anonymous
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.
Ray Kurzweil (How to Create a Mind: The Secret of Human Thought Revealed)
Postmodern architecture has its own version of the pastiche or collage. As one journalist puts it, postmodernism “has brought us girders hanging unfinished out of the edges of buildings, archways cut off in space, and walls which don’t meet walls.” Ravi Zacharias describes seeing a building designed by a postmodern architect. “I had just one question,” Zacharias says. “Did he do the same with the foundation?” 5 It was an apologetics argument put in artistic terms.
Nancy R. Pearcey (Finding Truth: 5 Principles for Unmasking Atheism, Secularism, and Other God Substitutes)
The paradox of impact is that while design shapes the world in profound ways, it is also being shaped by the world. Design as a process necessarily interfaces with many other systems to shape and redefine the world and our human experience within it. Designers and design in general is, however, uniquely situated to be critical mediators between the various entities, forces, and agendas that are constantly at work in developing the future that we collectively and individually want.
Tania Allen (Solving Critical Design Problems: Theory and Practice)
The exterior of the building was designed by architect Rafael Viñoly to have a sweeping curve, but this meant that all the reflective glass windows accidentally became a massive concave mirror—a kind of giant lens in the sky able to focus sunlight on a tiny area. It’s not often sunny in London, but when a sun-filled day in summer 2013 lined up with the recently completed windows, a death heat-ray swept across London. OK, it wasn’t that bad. But it was producing temperatures of nearly 200°F
Matt Parker (Humble Pi: A Comedy of Maths Errors)
Miss Kuhli (Merrihew had heard it “Cooley” the day before, and had built quite a different picture) was Eurasian. Not since the perfection of ferro-concrete and its self-stressed freedom has architecture been able to match the construction of such eyelids and supraorbital arches as those with which Miss Kuhli had been born. Her hands seemed to be the cooperative work of a florist and a choreographer. Her body had not been designed, but inspired, and her hair was such that it could not be believed at a single glance.
Theodore Sturgeon (The Complete Stories of Theodore Sturgeon, Volume XIII: Case and the Dreamer)
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.
Richard H. Thaler, Cass R. Sunstein
When Dad wasn’t telling us about all the amazing things he had already done, he was telling us about the wondrous things he was going to do. Like build the Glass Castle. All of Dad’s engineering skills and mathematical genius were coming together in one special project: a great big house he was going to build for us in the desert. It would have a glass ceiling and thick glass walls and even a glass staircase. The Glass Castle would have solar cells on the top that would catch the sun’s rays and convert them into electricity for heating and cooling and running all the appliances. It would even have its own water-purification system. Dad had worked out the architecture and the floor plans and most of the mathematical calculations. He carried around the blueprints for the Glass Castle wherever we went, and sometimes he’d pull them out and let us work on the design for our rooms. All we had to do was find gold, Dad said, and we were on the verge of that. Once he finished the Prospector and we struck it rich, he’d start work on our Glass Castle.
Jeannette Walls (The Glass Castle)
And are we not guilty of offensive disparagement in calling chess a game? Is it not also a science and an art, hovering between those categories as Muhammad’s coffin hovered between heaven and earth, a unique link between pairs of opposites: ancient yet eternally new; mechanical in structure, yet made effective only by the imagination; limited to a geometrically fixed space, yet with unlimited combinations; constantly developing, yet sterile; thought that leads nowhere; mathematics calculating nothing; art without works of art; architecture without substance – but nonetheless shown to be more durable in its entity and existence than all books and works of art; the only game that belongs to all nations and all eras, although no one knows what god brought it down to earth to vanquish boredom, sharpen the senses and stretch the mind. Where does it begin and where does it end? Every child can learn its basic rules, every bungler can try his luck at it, yet within that immutable little square it is able to bring forth a particular species of masters who cannot be compared to anyone else, people with a gift solely designed for chess, geniuses in their specific field who unite vision, patience and technique in just the same proportions as do mathematicians, poets, musicians, but in different stratifications and combinations. In the old days of the enthusiasm for physiognomy, a physician like Gall might perhaps have dissected a chess champion’s brain to find out whether some particular twist or turn in the grey matter, a kind of chess muscle or chess bump, is more developed in such chess geniuses than in the skulls of other mortals. And how intrigued such a physiognomist would have been by the case of Czentovic, where that specific genius appeared in a setting of absolute intellectual lethargy, like a single vein of gold in a hundredweight of dull stone. In principle, I had always realized that such a unique, brilliant game must create its own matadors, but how difficult and indeed impossible it is to imagine the life of an intellectually active human being whose world is reduced entirely to the narrow one-way traffic between black and white, who seeks the triumphs of his life in the mere movement to and fro, forward and back of thirty-two chessmen, someone to whom a new opening, moving knight rather than pawn, is a great deed, and his little corner of immortality is tucked away in a book about chess – a human being, an intellectual human being who constantly bends the entire force of his mind on the ridiculous task of forcing a wooden king into the corner of a wooden board, and does it without going mad!
Stefan Zweig (Chess)
And that is why I would propose that, in our teaching of the humanities, we should emphasize the enduring creations of the past. The schools should stay as far from contemporary works as possible. Because of the nature of the communications industry, our students have continuous access to the popular arts of their own times - its music, rhetoric, design, literature, architecture. Their knowledge of the form and content of these arts is by no means satisfactory. But their ignorance of the form and content of the art of the past is cavernous.
Neil Postman (Technopoly: The Surrender of Culture to Technology)
When Constantine converted to Christianity, there basically was no Christian architecture. Local Christian communities met in converted houses, and especially in the face of periodic imperial persecution, the religion had developed no specific architectural forms of its own. In the fourth century, therefore, as imperial patronage and ongoing processes of conversion caused large numbers of specialist churches to be built for the first time, the religion took over an old form of public building from the Graeco-Roman world: the basilica. This was a rectangular, shallow-vaulted building, usually equipped with aisles around an elevated central nave and an apse at one end. It had long been used for town council buildings and audience chambers across the Mediterranean world, with the apse being occupied by the presiding figure of power (or indeed the emperor in the case of a palace audience chamber). For Christianity, the apse worked nicely for the sacred space of the altar, and the basilica was a building form essentially designed for meetings, which worked, too, as a space for church services
Peter Heather (Rome Resurgent: War and Empire in the Age of Justinian (Ancient Warfare and Civilization))
I used to believe that design was information architecture, and also that this architecture was built in the brain of an information recipient. Recently I've come to think that, although the materials of that architecture's construction are indeed the information brought from the outside by the sensory organs, at the same time some very important building blocks are also the recollected experiences, the memories, awakened by these external stimuli. People imagine the world and interpret it when outside stimuli awaken the mountain of their internally stored memories.
Kenya Hara (Designing Design)
Teaching involves a search for meaning in the world. Teaching is a life project, a calling, a vocation that is an organizing center of all other activities. Teaching is past and future as well as present, it is background as well as foreground, it is depth as well as surface. Teaching is pain and humor, joy and anger, dreariness and epiphany. Teaching is world building, it is architecture and design, it is purpose and moral enterprise. Teaching is a way of being in the world that breaks through the boundaries of the traditional job and in the process redefines all life and teaching itself. (p. 130)
Nancy Fichtman Dana (The Reflective Educator's Guide to Classroom Research: Learning to Teach and Teaching to Learn Through Practitioner Inquiry)
There is danger that someday the farm land will be gone, the Downtown will be deserted, and the middle class living outside the city boundaries. If it is done intentionally, then that is our choice, but if it is allowed simply to happen without purpose, then that is ignorance. Indianapolis contains fantastic elements to become a vital city, but frequently our heritage has been destroyed in favor of cheap development and easy profits. Architects are not perfect, and many chances to improve our city have been lost. They allow the client to build structures without concern for what that building will do to the surrounding environment. The matter of conscience falls prey to the matter of making a living. A desire to improve our quality of life on the part of the client and profession will provide the best solution for all. Readers of this book, be inquisitive, explore your city, question its growth, let your feelings be known if your city is faulty, speak out if it is praiseworthy. Talk to your architects, politicians and developers; they are professionals, but they are also your servants. Use them to make your city better. Enjoy Indianapolis. It is a city to be lived in and can be taken to heart if one tries.
Rick A. Ball (Indianapolis Architecture)
The explanation of this perennial quality of Arabic is to be found simply in the conserving role of nomadism. It is in towns that languages decay, by becoming worn out, the things and institutions they designate. Nomads, who live to some extent outside time, conserve their language better; it is, moreover, the only treasure they can carry around with them in their pastoral existence; the nomad is a jealous guardian of his linguistic heritage, his poetry and his rhetorical art. On the other hand, his inheritance in the way of visual art cannot be rich; architecture presupposes stability, and the same is broadly true of sculpture and painting.
Titus Burckhardt (Art Of Islam: Language And Meaning)
Perhaps the CEO’s most important operational responsibility is designing and implementing the communication architecture for her company. The architecture might include the organizational design, meetings, processes, email, yammer, and even one-on-one meetings with managers and employees. Absent a well-designed communication architecture, information and ideas will stagnate, and your company will degenerate into a bad place to work. While it is quite possible to design a great communication architecture without one-on-one meetings, in most cases one-on-ones provide an excellent mechanism for information and ideas to flow up the organization and should be part of your design.
Ben Horowitz (The Hard Thing About Hard Things: Building a Business When There Are No Easy Answers)
A Puritan twist in our nature makes us think that anything good for us must be twice as good if it's hard to swallow. Learning Greek and Latin used to play the role of character builder, since they were considered to be as exhausting and unrewarding as digging a trench in the morning and filling it up in the afternoon. It was what made a man, or a woman -- or more likely a robot -- of you. Now math serves that purpose in many schools: your task is to try to follow rules that make sense, perhaps, to some higher beings; and in the end to accept your failure with humbled pride. As you limp off with your aching mind and bruised soul, you know that nothing in later life will ever be as difficult. What a perverse fate for one of our kind's greatest triumphs! Think how absurd it would be were music treated this way (for math and music are both excursions into sensuous structure): suffer through playing your scales, and when you're an adult you'll never have to listen to music again. And this is mathematics we're talking about, the language in which, Galileo said, the Book of the World is written. This is mathematics, which reaches down into our deepest intuitions and outward toward the nature of the universe -- mathematics, which explains the atoms as well as the stars in their courses, and lets us see into the ways that rivers and arteries branch. For mathematics itself is the study of connections: how things ideally must and, in fact, do sort together -- beyond, around, and within us. It doesn't just help us to balance our checkbooks; it leads us to see the balances hidden in the tumble of events, and the shapes of those quiet symmetries behind the random clatter of things. At the same time, we come to savor it, like music, wholly for itself. Applied or pure, mathematics gives whoever enjoys it a matchless self-confidence, along with a sense of partaking in truths that follow neither from persuasion nor faith but stand foursquare on their own. This is why it appeals to what we will come back to again and again: our **architectural instinct** -- as deep in us as any of our urges.
Ellen Kaplan (Out of the Labyrinth: Setting Mathematics Free)
But architects are not makers of public policy, and while they can design whatever they please, they can build only what a client wants to pay for. It is not the architect’s role to solve the problem of housing the poor. It is the architect’s role to give the poor the very best housing possible when society decides it is ready to address this urgent problem. The same applies for education and health care and every other social need that can be satisfied, in part, by more and better buildings: it is the job of architects to design the best buildings, the most beautiful and civilized and useful ones, but society must be willing to address these problems before the architect can do his or her best work.
Paul Goldberger (Why Architecture Matters)
From the pleasure podium of Ali Qapu, beyond the enhanced enclosure, the city spread itself towards the horizon. Ugly buildings are prohibited in Esfahan. They go to Tehran or stay in Mashhad. Planters vie with planners to outnumber buildings with trees. Attracting nightingales, blackbirds and orioles is considered as important as attracting people. Maples line the canals, reaching towards each other with branches linked. Beneath them, people meander, stroll and promenade. The Safavids' high standards generated a kind of architectural pole-vaulting competition in which beauty is the bar, and ever since the Persians have been imbuing the most mundane objects with design. Turquoise tiles ennoble even power stations. In the meadow in the middle of Naghshe Jahan, as lovers strolled or rode in horse-drawn traps, I lay on my back picking four-leafed clovers and looking at the sky. There was an intimacy about its grandeur, like having someone famous in your family. The life of centuries past was more alive here than anywhere else, its physical dimensions unchanged. Even the brutal mountains, folded in light and shadows beyond the square, stood back in awe of it. At three o'clock, the tiled domes soaked up the sunshine, transforming its invisible colours to their own hue, and the gushing fountains ventilated the breeze and passed it on to grateful Esfahanis. But above all was the soaring sky, captured by this snare of arches.(p378)
Christopher Kremmer (The Carpet Wars: From Kabul to Baghdad: A Ten-Year Journey Along Ancient Trade Routes)
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.
Alex Kerr (Dogs and Demons: Tales From the Dark Side of Modern Japan)
Sunset’s the best time to take a stroll down Mouffetard, the ancient Via Mons Cetardus. The buildings along it are only two or three stories high. Many are crowned with conical dovecotes. Nowhere in Paris is the connection, the obscure kinship, between houses very close to each other more perceptible to the pedestrian than in this street. Close in age, not location. If one of them should show signs of decrepitude, if its face should sag, or it should lose a tooth, as it were, a bit of cornicing, within hours its sibling a hundred metres away, but designed according to the same plans and built by the same men, will also feel it’s on its last legs. The houses vibrate in sympathy like the chords of a viola d’amore. Like cheddite charges giving each other the signal to explode simultaneously.
Jacques Yonnet (Paris Noir: The Secret History of a City)
Facebook’s own North American marketing director, Michelle Klein, who told an audience in 2016 that while the average adult checks his or her phone 30 times a day, the average millennial, she enthusiastically reported, checks more than 157 times daily. Generation Z, we now know, exceeds this pace. Klein described Facebook’s engineering feat: “a sensory experience of communication that helps us connect to others, without having to look away,” noting with satisfaction that this condition is a boon to marketers. She underscored the design characteristics that produce this mesmerizing effect: design is narrative, engrossing, immediate, expressive, immersive, adaptive, and dynamic.11 If you are over the age of thirty, you know that Klein is not describing your adolescence, or that of your parents, and certainly not that of your grandparents. Adolescence and emerging adulthood in the hive are a human first, meticulously crafted by the science of behavioral engineering; institutionalized in the vast and complex architectures of computer-mediated means of behavior modification; overseen by Big Other; directed toward economies of scale, scope, and action in the capture of behavioral surplus; and funded by the surveillance capital that accrues from unprecedented concentrations of knowledge and power. Our children endeavor to come of age in a hive that is owned and operated by the applied utopianists of surveillance capitalism and is continuously monitored and shaped by the gathering force of instrumentarian power. Is this the life that we want for the most open, pliable, eager, self-conscious, and promising members of our society?
Shoshana Zuboff (The Age of Surveillance Capitalism)
We like to think of ourselves as immune from influence or our cognitive biases, because we want to feel like we are in control, but industries like alcohol, tobacco, fast food, and gaming all know we are creatures that are subject to cognitive and emotional vulnerabilities. And tech has caught on to this with its research into “user experience,” “gamification,” “growth hacking,” and “engagement” by activating ludic loops and reinforcement schedules in the same way slot machines do. So far, this gamification has been contained to social media and digital platforms, but what will happen as we further integrate our lives with networked information architectures designed to exploit evolutionary flaws in our cognition? Do we really want to live in a “gamified” environment that engineers our obsessions and plays with our lives as if we are inside its game?
Christopher Wylie (Mindf*ck: Cambridge Analytica and the Plot to Break America)
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.
Daniel C. Dennett (Intuition Pumps And Other Tools for Thinking)
Conceive a world-society developed materially far beyond the wildest dreams of America. Unlimited power, derived partly from the artificial disintegration of atoms, partly from the actual annihilation of matter through the union of electrons and protons to form radiation, completely abolished the whole grotesque burden of drudgery which hitherto had seemed the inescapable price of civilization, nay of life itself. The vast economic routine of the world-community was carried on by the mere touching of appropriate buttons. Transport, mining, manufacture, and even agriculture were performed in this manner. And indeed in most cases the systematic co-ordination of these activities was itself the work of self-regulating machinery. Thus, not only was there no longer need for any human beings to spend their lives in unskilled monotonous labour, but further, much that earlier races would have regarded as highly skilled though stereotyped work, was now carried on by machinery. Only the pioneering of industry, the endless exhilarating research, invention, design and reorganization, which is incurred by an ever-changing society, still engaged the minds of men and women. And though this work was of course immense, it could not occupy the whole attention of a great world-community. Thus very much of the energy of the race was free to occupy itself with other no less difficult and exacting matters, or to seek recreation in its many admirable sports and arts. Materially every individual was a multi-millionaire, in that he had at his beck and call a great diversity of powerful mechanisms; but also he was a penniless friar, for he had no vestige of economic control over any other human being. He could fly through the upper air to the ends of the earth in an hour, or hang idle among the clouds all day long. His flying machine was no cumbersome aeroplane, but either a wingless aerial boat, or a mere suit of overalls in which he could disport himself with the freedom of a bird. Not only in the air, but in the sea also, he was free. He could stroll about the ocean bed, or gambol with the deep-sea fishes. And for habitation he could make his home, as he willed, either in a shack in the wilderness or in one of the great pylons which dwarfed the architecture even of the American age. He could possess this huge palace in loneliness and fill it with his possessions, to be automatically cared for without human service; or he could join with others and create a hive of social life. All these amenities he took for granted as the savage takes for granted the air which he breathes. And because they were as universally available as air, no one craved them in excess, and no one grudged another the use of them.
Olaf Stapledon (Last and First Men)
One of the patterns from domain-driven design is called bounded context. Bounded contexts are used to set the logical boundaries of a domain’s solution space for better managing complexity. It’s important that teams understand which aspects, including data, they can change on their own and which are shared dependencies for which they need to coordinate with other teams to avoid breaking things. Setting boundaries helps teams and developers manage the dependencies more efficiently. The logical boundaries are typically explicit and enforced on areas with clear and higher cohesion. These domain dependencies can sit on different levels, such as specific parts of the application, processes, associated database designs, etc. The bounded context, we can conclude, is polymorphic and can be applied to many different viewpoints. Polymorphic means that the bounded context size and shape can vary based on viewpoint and surroundings. This also means you need to be explicit when using a bounded context; otherwise it remains pretty vague.
Piethein Strengholt (Data Management at Scale: Best Practices for Enterprise Architecture)
Urban planning is a scientific, aesthetic and orderly disposition of Land, Resources, Facilities and Services with a view of securing the Physical, Economic and Social Efficiency, Health and well-being of Urban Communities. As over the years the urban population of India has been increasing rapidly, this fast tread urbanization is pressurizing the existing infrastructure leading to a competition over scare resources in the cities. The objective of our organization is to develop effective ideas and inventions so that we could integrate in the development of competitive, compact, sustainable, inclusive and resilient cities in terms of land-use, environment, transportation and services to improve physical, social and economic environment of the cities. Focus Areas:- Built Environment Utilities Public Realm Urban planning and Redevelopment Urban Transport and Mobility Smart City AMRUT Solid Waste Management Master Plans Community Based Planning Architecture and Urban Design Institutional Capacity Building Geographic Information System Riverfront Development Local Area Planning ICT
Citiyano De Solutions Pvt. Ltd.
a harbinger of a third wave of computing, one that blurred the line between augmented human intelligence and artificial intelligence. “The first generation of computers were machines that counted and tabulated,” Rometty says, harking back to IBM’s roots in Herman Hollerith’s punch-card tabulators used for the 1890 census. “The second generation involved programmable machines that used the von Neumann architecture. You had to tell them what to do.” Beginning with Ada Lovelace, people wrote algorithms that instructed these computers, step by step, how to perform tasks. “Because of the proliferation of data,” Rometty adds, “there is no choice but to have a third generation, which are systems that are not programmed, they learn.”27 But even as this occurs, the process could remain one of partnership and symbiosis with humans rather than one designed to relegate humans to the dustbin of history. Larry Norton, a breast cancer specialist at New York’s Memorial Sloan-Kettering Cancer Center, was part of the team that worked with Watson. “Computer science is going to evolve rapidly, and medicine will evolve with it,” he said. “This is coevolution. We’ll help each other.”28 This belief that machines and humans will get smarter together is a process that Doug Engelbart called “bootstrapping” and “coevolution.”29 It raises an interesting prospect: perhaps no matter how fast computers progress, artificial intelligence may never outstrip the intelligence of the human-machine partnership. Let us assume, for example, that a machine someday exhibits all of the mental capabilities of a human: giving the outward appearance of recognizing patterns, perceiving emotions, appreciating beauty, creating art, having desires, forming moral values, and pursuing goals. Such a machine might be able to pass a Turing Test. It might even pass what we could call the Ada Test, which is that it could appear to “originate” its own thoughts that go beyond what we humans program it to do. There would, however, be still another hurdle before we could say that artificial intelligence has triumphed over augmented intelligence. We can call it the Licklider Test. It would go beyond asking whether a machine could replicate all the components of human intelligence to ask whether the machine accomplishes these tasks better when whirring away completely on its own or when working in conjunction with humans. In other words, is it possible that humans and machines working in partnership will be indefinitely more powerful than an artificial intelligence machine working alone?
Walter Isaacson (The Innovators: How a Group of Inventors, Hackers, Geniuses, and Geeks Created the Digital Revolution)
When a domain reaches a point where the knowledge for skillful professional practice cannot be acquired in a decade, more or less, then several adaptive developments are likely to occur. Specialization will usually increase (as it has, for example, in medicine), and practitioners will make increasing use of books and other external reference aids in their work. Architecture is a good example of a domain where much of the information a professional requires is stored in reference works, such as catalogues of available building materials, equipment, and components, and official building codes. No architect expects to keep all of this in his head or to design without frequent resort to these information sources. In fact architecture can almost be taken as a prototype for the process of design in a semantically rich task domain. The emerging design is itself incorporated in a set of external memory structures: sketches, floor plans, drawings of utility systems, and so on. At each stage in the design process, partial design reflected in these documents serves as a major stimulus suggesting to the designer what he should attend to next. This direction to new sub-goals permits in turn new information to be extracted from memory and reference sources and another step to be taken toward the development of the design.
Herbert A. Simon (The Sciences of the Artificial)
It was when Maya showed me the benches at Gallaudet University that I started to glimpse sound—the physical structure of it, the elastic bounce of its travel. My friends who are deaf have always told me that sound also belongs to them—that hearing people are forever getting it wrong to imagine deafness as a “silent world”—but the benches were the thing that made this idea vividly real. They were a feature in the design at the scale of rooms at Gallaudet, alongside a dozen other architectural choices that a hearing person could easily miss. Maya had paused for a moment in our campus tour to point them out, standing in the middle of a big, airy common space lined with windows on three sides, the lobby of a dorm where many students study and socialize, alone or in groups. The benches serve as seating for nearby wood tables, sets that are interspersed with soft fabric chairs arranged 360 degrees around for discussion. “Wood is the best material for this kind of group seating,” she told me, and mimed lightly slapping the wood with her palm. The resonance of wood makes it reverberate when struck. Students sometimes tap or slap nearby surfaces to get one another’s attention or to call a group to order, she said, and materials like concrete or thick plastics tend to absorb the sound rather than scatter it productively.
Sara Hendren (What Can a Body Do?: How We Meet the Built World)
The billboards ruin everything. The historical flavor, the old-time architecture, even the beauty of the wooded hillside—all are sacrificed. Pole-lines and wires may be accepted, like fences, as part of the basic American landscape. They do their work without striving to be conspicuous, and often their not-ungraceful curves add a touch of interest, an intricacy of pattern, even some beauty. Billboards are different. . . . billboards blast themselves into the viewer's consciousness. . . . some of the smaller billboards—those advertising local hotels, service-stations, or small industries—seem to have a certain rooting in the soil, and are often modest and comparatively harmonious to the setting. The large billboards—owned by special companies, usually advertising the products of mass-production—are always placed in the most conspicuous spots, and have designs and colors carefully chosen to clash with the background. One feels a difference between a home-produced: "Stop at Joe's Service Station for Gas—Two Miles," or "The Liberty Café—Short Orders at All Hours—Give Us a Try!" and some gigantic rectangle advertising tires or beer. Large billboards are now springing up along U. S. 40 even in the vastnesses of the Nevada sagebrush country. They are an abomination! Personally, I try to buy as little as possible of anything that is so advertised.
George R. Stewart (U.S. 40: Cross Section of the United States of America)
Stanford University’s John Koza, who pioneered genetic programming in 1986, has used genetic algorithms to invent an antenna for NASA, create computer programs for identifying proteins, and invent general purpose electrical controllers. Twenty-three times Koza’s genetic algorithms have independently invented electronic components already patented by humans, simply by targeting the engineering specifications of the finished devices—the “fitness” criteria. For example, Koza’s algorithms invented a voltage-current conversion circuit (a device used for testing electronic equipment) that worked more accurately than the human-invented circuit designed to meet the same specs. Mysteriously, however, no one can describe how it works better—it appears to have redundant and even superfluous parts. But that’s the curious thing about genetic programming (and “evolutionary programming,” the programming family it belongs to). The code is inscrutable. The program “evolves” solutions that computer scientists cannot readily reproduce. What’s more, they can’t understand the process genetic programming followed to achieve a finished solution. A computational tool in which you understand the input and the output but not the underlying procedure is called a “black box” system. And their unknowability is a big downside for any system that uses evolutionary components. Every step toward inscrutability is a step away from accountability, or fond hopes like programming in friendliness toward humans. That doesn’t mean scientists routinely lose control of black box systems. But if cognitive architectures use them in achieving AGI, as they almost certainly will, then layers of unknowability will be at the heart of the system. Unknowability might be an unavoidable consequence of self-aware, self-improving software.
James Barrat (Our Final Invention: Artificial Intelligence and the End of the Human Era)
The granite complex inside the Great Pyramid, therefore, is poised ready to convert vibrations from the Earth into electricity. What is lacking is a sufficient amount of energy to drive the beams and activate the piezoelectric properties within them. The ancients, though, had anticipated the need for more energy than what would be collected only within the King's Chamber. They had determined that they needed to tap into the vibrations of the Earth over a larger area inside the pyramid and deliver that energy to the power center—the King's Chamber —thereby substantially increasing the amplitude of the oscillations of the granite. Modern concert halls are designed and built to interact with the instruments performing within. They are huge musical instruments in themselves. The Great Pyramid can be seen as a huge musical instrument with each element designed to enhance the performance of the other. While modern research into architectural acoustics might focus predominantly upon minimizing the reverberation effects of sound in enclosed spaces, there is reason to believe that the ancient pyramid builders were attempting to achieve the opposite. The Grand Gallery, which is considered to be an architectural masterpiece, is an enclosed space in which resonators were installed in the slots along the ledge that runs the length of the gallery. As the Earth's vibration flowed through the Great Pyramid, the resonators converted the vibrational energy to airborne sound. By design, the angles and surfaces of the Grand Gallery walls and ceiling caused reflection of the sound, and its focus into the King's Chamber. Although the King's Chamber also was responding to the energy flowing through the pyramid, much of the energy would flow past it. The specific design and utility of the Grand Gallery was to transfer the energy flowing through a large area of the pyramid into the resonant King's Chamber. This sound was then focused into the granite resonating cavity at sufficient amplitude to drive the granite ceiling beams to oscillation. These beams, in turn, compelled the beams above them to resonate in harmonic sympathy. Thus, with the input of sound and the maximization of resonance, the entire granite complex, in effect, became a vibrating mass of energy.
Christopher Dunn (The Giza Power Plant: Technologies of Ancient Egypt)
The Mother’s Prayer for Its Daughter First, Lord: No tattoos. May neither the Chinese symbol for truth nor Winnie-the-Pooh holding the FSU logo stain her tender haunches. May she be Beautiful but not Damaged, for it’s the Damage that draws the creepy soccer coach’s eye, not the Beauty. When the Crystal Meth is offered, May she remember the parents who cut her grapes in half And stick with Beer. Guide her, protect her When crossing the street, stepping onto boats, swimming in the ocean, swimming in pools, walking near pools, standing on the subway platform, crossing 86th Street, stepping off of boats, using mall restrooms, getting on and off escalators, driving on country roads while arguing, leaning on large windows, walking in parking lots, riding Ferris wheels, roller-coasters, log flumes, or anything called “Hell Drop,” “Tower of Torture,” or “The Death Spiral Rock ‘N Zero G Roll featuring Aerosmith,” and standing on any kind of balcony ever, anywhere, at any age. Lead her away from Acting but not all the way to Finance. Something where she can make her own hours but still feel intellectually fulfilled and get outside sometimes And not have to wear high heels. What would that be, Lord? Architecture? Midwifery? Golf course design? I’m asking You, because if I knew, I’d be doing it, Youdammit. May she play the Drums to the fiery rhythm of her Own Heart with the sinewy strength of her Own Arms, so she need Not Lie With Drummers. Grant her a Rough Patch from twelve to seventeen. Let her draw horses and be interested in Barbies for much too long, For Childhood is short—a Tiger Flower blooming Magenta for one day— And Adulthood is long and Dry-Humping in Cars will wait. O Lord, break the Internet forever, That she may be spared the misspelled invective of her peers And the online marketing campaign for Rape Hostel V: Girls Just Wanna Get Stabbed. And when she one day turns on me and calls me a Bitch in front of Hollister, Give me the strength, Lord, to yank her directly into a cab in front of her friends, For I will not have that Shit. I will not have it. And should she choose to be a Mother one day, be my eyes, Lord, That I may see her, lying on a blanket on the floor at 4:50 A.M., all-at-once exhausted, bored, and in love with the little creature whose poop is leaking up its back. “My mother did this for me once,” she will realize as she cleans feces off her baby’s neck. “My mother did this for me.” And the delayed gratitude will wash over her as it does each generation and she will make a Mental Note to call me. And she will forget. But I’ll know, because I peeped it with Your God eyes. Amen
Tina Fey (Bossypants)
A control freak architect might restrict the development team from downloading any useful open source or third-party libraries and instead insist that the teams write everything from scratch using the language API. Control freak architects might also place tight restrictions on naming conventions, class design, method length, and so on. Essentially, control freak architects steal the art of programming away from the developers, resulting in frustration and a lack of respect for the architect.
Mark Richards (Fundamentals of Software Architecture: An Engineering Approach)
John Hennessy and David Patterson: they are titled Computer Organization and Design: The Hardware/Software Interface and Computer Architecture: A Quantitative Approach (both published by Morgan Kaufmann).
Gian-Paolo D. Musumeci (System Performance Tuning: Help for Unix Administrators)
Requirements are not architecture. Requirements are not design, nor are they the user interface. Requirements are need.
Andrew Hunt (The Pragmatic Programmer: From Journeyman to Master)
Built on years of experience and expertise, Bare Space offers you the comprehensive design experience. From the initial design to the final bespoke outcome, you get to work with a team of qualified interior designers in West London. This interior architecture and interior design studio offers top tier services that you need to transform your desired space. To achieve a personalised design that exceeds the clients expectations, the team uses top quality materials sourced from trusted suppliers.
Bare Space
ENTITIES Entities encapsulate enterprise-wide Critical Business Rules. An entity can be an object with methods, or it can be a set of data structures and functions. It doesn’t matter so long as the entities can be used by many different applications in the enterprise.
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
USE CASES The software in the use cases layer contains application-specific business rules. It encapsulates and implements all of the use cases of the system. These use cases orchestrate the flow of data to and from the entities, and direct those entities to use their Critical Business Rules to achieve the goals of the use case.
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
The outer circles are mechanisms. The inner circles are policies.
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
Nothing in an inner circle can know anything at all about something in an outer circle. In particular, the name of something declared in an outer circle must not be mentioned by the code in an inner circle. That includes functions, classes, variables, or any other named software entity. By the same token, data formats declared in an outer circle should not be used by an inner circle, especially if those formats are generated by a framework in an outer circle. We don’t want anything in an outer circle to impact the inner circles.
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
The Entity is pure business and nothing else.
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
Why are Entities high level and use cases lower level? Because use cases are specific to a single application and, therefore, are closer to the inputs and outputs of that system. Entities are generalizations that can be used in many different applications, so they are farther from the inputs and outputs of the system. Use cases depend on Entities; Entities do not depend on use cases.
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
SERVICES The strongest boundary is a service. A service is a process, generally started from the command line or through an equivalent system call. Services do not depend on their physical location. Two communicating services may, or may not, operate in the same physical processor or multicore. The services assume that all communications take place over the network.
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
The source code of higher-level services must not contain any specific physical knowledge (e.g., a URI) of any lower-level service.
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
A computer program is a detailed description of the policy by which inputs are transformed into outputs.
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
Part of the art of developing a software architecture is carefully separating those policies from one another, and regrouping them based on the ways that they change.
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
Policies that change for the same reasons, and at the same times, are at the same level and belong together in the same component. Policies that change for different reasons, or at different times, are at different levels and should be separated into different components.
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
When you look at the top-level directory structure, and the source files in the highest-level package, do they scream “Health Care System,” or “Accounting System,” or “Inventory Management System”? Or do they scream “Rails,” or “Spring/Hibernate,” or “ASP”?
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
The critical rules and critical data are inextricably bound, so they are a good candidate for an object. We’ll call this kind of object an Entity.1
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
Strictly speaking, business rules are rules or procedures that make or save the business money. Very strictly speaking, these rules would make or save the business money, irrespective of whether they were implemented on a computer. They would make or save money even if they were executed manually. The fact that a bank charges N% interest for a loan is a business rule that makes the bank money. It doesn’t matter if a computer program calculates the interest, or if a clerk with an abacus calculates the interest.
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
Good architectures are centered on use cases so that architects can safely describe the structures that support those use cases without committing to frameworks, tools, and environments. Again, consider the plans for a house. The first concern of the architect is to make sure that the house is usable—not to ensure that the house is made of bricks. Indeed, the architect takes pains to ensure that the homeowner can make decisions about the exterior material (bricks, stone, or cedar) later, after the plans ensure that the use cases are met.
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
A good architecture makes it unnecessary to decide on Rails, or Spring, or Hibernate, or Tomcat, or MySQL, until much later in the project. A good architecture makes it easy to change your mind about those decisions, too. A good architecture emphasizes the use cases and decouples them from peripheral concerns
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
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.
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
Think about how you can preserve the use-case emphasis of your architecture. Develop a strategy that prevents the framework from taking over that architecture.
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
if you have kept your frameworks at arm’s length, then you should be able to unit-test all those use cases without any of the frameworks in place. You shouldn’t need the web server running to run your tests. You shouldn’t need the database connected to run your tests. Your Entity objects should be plain old objects that have no dependencies on frameworks or databases or other complications. Your use case objects should coordinate your Entity objects. Finally, all of them together should be testable in situ, without any of the complications of frameworks.
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
Jacobson makes the point that software architectures are structures that support the use cases of the system. Just as the plans for a house or a library scream about the use cases of those buildings, so should the architecture of a software application scream about the use cases of the application.
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
The use case class accepts simple request data structures for its input, and returns simple response data structures as its output. These data structures are not dependent on anything. They do not derive from standard framework interfaces such as HttpRequest and HttpResponse. They know nothing of the web, nor do they share any of the trappings of whatever user interface might be in place. This lack of dependencies is critical. If the request and response models are not independent, then the use cases that depend on them will be indirectly bound to whatever dependencies the models carry with them. You might be tempted to have these data structures contain references to Entity objects. You might think this makes sense because the Entities and the request/response models share so much data. Avoid this temptation! The purpose of these two objects is very different. Over time they will change for very different reasons, so tying them together in any way violates the Common Closure and Single Responsibility Principles. The result would be lots of tramp data, and lots of conditionals in your code.
Robert C. Martin (Clean Architecture: A Craftsman's Guide to Software Structure and Design)
At the street level, Sugar Fair welcomed customers into a bright, child-like fantasy. The architecturally designed enchanted forest was awash in jewel tones, and gorgeous smells, and the waterfall of free-flowing chocolate. But it was the Dark Forest downstairs that had proved an unexpected money-spinner, an income stream that had helped keep them afloat through the precarious first year. Four nights a week, through a haze of purple smoke and bubbling cauldrons, Sylvie taught pre-booked groups how to make concoctions that would tease the senses, delight the mind... and knock people flat on their arse if they weren't careful. High percentage of alcohol. It was a mixology class with a lot of tricks and pyrotechnics. It had been Jay's idea to get a liquor license. "Pleasures of the mouth," he'd said at the time. "The holy trinity--- chocolate, coffee, and booze." With even her weekends completely blocked out, Sylvie had almost made a crack about forfeiting certain other pleasures of the mouth, but Jay had inherited a puritanical streak from his mother. Both their mouths looked like dried cranberries if someone made a sex joke. The sensuous, moody haven in the basement was a counterbalance to the carefully manufactured atmosphere upstairs. There were, after all, reasons to shy away from relentless cheer. Perhaps someone had just been through a breakup, or a family reunion. A really distressing haircut. Maybe they'd logged on to Twitter and realized half the population were a bunch of pricks. Or maybe the'd picked up the Metropolitan News and found Dominic De Vere indirectly thrashing their entire business aesthetic in a major London daily. Whatever the reason--- feeling a little stressed? A bit peeved? Annoyed as fuck? Welcome to the Dark Forest. Through the bakery, turn left, down the stairs.
Lucy Parker (Battle Royal (Palace Insiders, #1))