Spatial Design Quotes

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.

That thing we call a place is the intersection of many changing forces passing through, whirling around, mixing, dissolving, and exploding in a fixed location. To write about a place is to acknowledge that phenomena often treated separately—ecology, democracy, culture, storytelling, urban design, individual life histories and collective endeavors—coexist. They coexist geographically, spatially, in place, and to understand a place is to engage with braided narratives and sue generous explorations.

Coonskin caps and silly putty were just not going to cut it anymore. The good mother got her kids toys that were educational, that advanced gross and fine motor skills, that gave them the spatial sensibilities and design aptitude of Frank Lloyd Wright, and that taught Johnny how to read James Joyce at age three. God forbid that one second should pass where your child was idle and that you were not doing everything you could to promote his or her emotional, cognitive, imaginative, quantitative, or muscular development.

Feminism has both undone the hierarchy in which the elements aligned with the masculine were given greater value than those of the feminine and undermined the metaphors that aligned these broad aspects of experience with gender. So, there goes women and nature. What does it leave us with? One thing is a political mandate to decentralize privilege and power and equalize access, and that can be a literal spatial goal too, the goal of our designed landscapes and even the managed ones -- the national parks, forests, refuges, recreation areas, and so on.

She was still getting organized, trying to get the books she'd taken out to fit into the shelf under the stroller. She would shove a book in, and then something, a juice cup, a Binky, or one disturbing Barbie-doll head, would fall out the other side. She would shove that back in, and then something else would leak out the other side. Her stroller was like a poorly designed clown car. I went over and helped. It was a good thing spatial relations were a strength of mine, because it required the geometry skills of Newton to get everything slotted into place.

The fifth principle emphasizes another human strength: whenever possible, we should take measures to re-spatialize the information we think about. We inherited “a mind on the hoof,” as Andy Clark puts it: a brain that was built to pick a path through a landscape and to find the way back home. Neuroscientific research indicates that our brains process and store information—even, or especially, abstract information—in the form of mental maps. We can work in concert with the brain’s natural spatial orientation by placing the information we encounter into expressly spatial formats: creating memory palaces, for example, or designing concept maps. In the realm of education research, experts now speak of “spatializing the curriculum”—that is, simultaneously drawing on and strengthening students’ spatial capacities by having them employ spatial language and gestures, engage in sketching and mapmaking, and learn to interpret and create charts, tables, and diagrams. The spatialized

That thing we call a place is the intersection of many changing forces passing through, whirling around, mixing, dissolving, and exploding in a ixed location. To write about a place is to acknowledge that phenomena often treated separately - ecology, democracy, culture, storytelling, urban design, individual life histories and collective endeavors - coexist. They coexist geographically, spatially, in place, and to understand a place is to engage with braided narratives and sui generis explorations

That thing we call a place is the intersection of many changing forces passing through, whirling around, mixing, dissolving, and exploding in a fixed location. To write about a place is to acknowledge that phenomena often treated separately - ecology, democracy, culture, storytelling, urban design, individual life histories and collective endeavors - coexist. They coexist geographically, spatially, in place, and to understand a place is to engage with braided narratives and sui generis explorations

This basic evolutionary concept has been developed over the years into what we now know as biophilic design, which offers a set of three core design principles that aim to improve our connection with nature: Nature in the space: bringing real forms of nature and ways to connect to natural systems into your space... Natural analogues: including references to- or representations of- nature, taking inspiration from its forms, shapes, colors, patterns, and textures... Nature of the space: mimicking the spatial qualities of natural environments to enhance or evoke human responses.

My laboratory is interested in the related challenges of understanding the origin of life on the early earth, and constructing synthetic cellular life in the laboratory. Focusing on artificial life frees us to explore novel chemical systems, but what we learn from these systems helps us to understand possible pathways leading to the origin of life. Our basic design for a synthetic cell involves the encapsulation of a spontaneously replicating nucleic acid, which acts as the genetic material, within a spontaneously replicating membrane vesicle, which provides spatial localization. We are using chemical synthesis to make nucleic acids with modified nucleobases and sugar-phosphate backbones.

When social and economic relationships are recast along an imaginary axis of center and periphery, geographical space can also become freighted with moral significance. The periferia designates not just a geographic locale but also an associated nexus of social, economic and moral conditions. Anyone who has spent significant time in Brazil inevitably will have been warned of the periferia, a term that identifies not only the perimeter of urban space but also the marginal conditions believed to prevail there. In its most narrow usage, periferia refers to the shantytowns and blocks of low income housing that have sprouted along the edges of Rio de Janeiro and other urban centers in Brazil. More broadly periferia denotes a boundary zone, frontier, or hinterland, but like all liminal terminology it lends itself to a web of referents expanding its meaning beyond the purely spatial to encompass both the moral and social connotations of life on the edge: marginality, lawlessness, immorality and chaos. It is often used as synonym for favela, although not all favelas are located on the periphery.

Two observations take us across the finish line. The Second Law ensures that entropy increases throughout the entire process, and so the information hidden within the hard drives, Kindles, old-fashioned paper books, and everything else you packed into the region is less than that hidden in the black hole. From the results of Bekenstein and Hawking, we know that the black hole's hidden information content is given by the area of its event horizon. Moreover, because you were careful not to overspill the original region of space, the black hole's event horizon coincides with the region's boundary, so the black hole's entropy equals the area of this surrounding surface. We thus learn an important lesson. The amount of information contained within a region of space, stored in any objects of any design, is always less than the area of the surface that surrounds the region (measured in square Planck units). This is the conclusion we've been chasing. Notice that although black holes are central to the reasoning, the analysis applies to any region of space, whether or not a black hole is actually present. If you max out a region's storage capacity, you'll create a black hole, but as long as you stay under the limit, no black hole will form. I hasten to add that in any practical sense, the information storage limit is of no concern. Compared with today's rudimentary storage devices, the potential storage capacity on the surface of a spatial region is humongous. A stack of five off-the-shelf terabyte hard drives fits comfortable within a sphere of radius 50 centimeters, whose surface is covered by about 10^70 Planck cells. The surface's storage capacity is thus about 10^70 bits, which is about a billion, trillion, trillion, trillion, trillion terabytes, and so enormously exceeds anything you can buy. No one in Silicon Valley cares much about these theoretical constraints. Yet as a guide to how the universe works, the storage limitations are telling. Think of any region of space, such as the room in which I'm writing or the one in which you're reading. Take a Wheelerian perspective and imagine that whatever happens in the region amounts to information processing-information regarding how things are right now is transformed by the laws of physics into information regarding how they will be in a second or a minute or an hour. Since the physical processes we witness, as well as those by which we're governed, seemingly take place within the region, it's natural to expect that the information those processes carry is also found within the region. But the results just derived suggest an alternative view. For black holes, we found that the link between information and surface area goes beyond mere numerical accounting; there's a concrete sense in which information is stored on their surfaces. Susskind and 'tHooft stressed that the lesson should be general: since the information required to describe physical phenomena within any given region of space can be fully encoded by data on a surface that surrounds the region, then there's reason to think that the surface is where the fundamental physical processes actually happen. Our familiar three-dimensional reality, these bold thinkers suggested, would then be likened to a holographic projection of those distant two-dimensional physical processes. If this line of reasoning is correct, then there are physical processes taking place on some distant surface that, much like a puppeteer pulls strings, are fully linked to the processes taking place in my fingers, arms, and brain as I type these words at my desk. Our experiences here, and that distant reality there, would form the most interlocked of parallel worlds. Phenomena in the two-I'll call them Holographic Parallel Universes-would be so fully joined that their respective evolutions would be as connected as me and my shadow.

In his Dialogue "Timaeus" Plato had a demiurge to create the globe-shaped world according to musical laws, including the human soul. Fifteen hundred years later, that still found an echo in the Renaissance. And in those days the architects realized that the musical harmonies had spatial expressions -- namely, the relationships of the length of strings, and spatial relationships were precisely their only concerns. Because both the world and the body and soul were composed according to musical harmonies by the demiurge architect, both the macrocosm and the microcosm, they must therefore be guided in their own architectural designs by the laws of music.

1 = Very important. Do this at once. 2 = Worth doing but takes more time. Start planning it. 3 = Yes and no. Depends on how it’s done. 4 = Not very important. May even be a waste of effort. 5 = No! Don’t do this. Fill in those numbers before you read further, and take your time. This is not a simple situation, and solving it is a complicated undertaking. Possible Actions to Take ____ Explain the changes again in a carefully written memo. ____ Figure out exactly how individuals’ behavior and attitudes will have to change to make teams work. ____ Analyze who stands to lose something under the new system. ____ Redo the compensation system to reward compliance with the changes. ____ “Sell” the problem that is the reason for the change. ____ Bring in a motivational speaker to give employees a powerful talk about teamwork. ____ Design temporary systems to contain the confusion during the cutover from the old way to the new. ____ Use the interim between the old system and the new to improve the way in which services are delivered by the unit—and, where appropriate, create new services. ____ Change the spatial arrangements so that the cubicles are separated only by glass or low partitions. ____ Put team members in contact with disgruntled clients, either by phone or in person. Let them see the problem firsthand. ____ Appoint a “change manager” to be responsible for seeing that the changes go smoothly. ____ Give everyone a badge with a new “teamwork” logo on it. ____ Break the change into smaller stages. Combine the firsts and seconds, then add the thirds later. Change the managers into coordinators last. ____ Talk to individuals. Ask what kinds of problems they have with “teaming.” ____ Change the spatial arrangements from individual cubicles to group spaces. ____ Pull the best people in the unit together as a model team to show everyone else how to do it. ____ Give everyone a training seminar on how to work as a team. ____ Reorganize the general manager’s staff as a team and reconceive the GM’s job as that of a coordinator. ____ Send team representatives to visit other organizations where service teams operate successfully. ____ Turn the whole thing over to the individual contributors as a group and ask them to come up with a plan to change over to teams. ____ Scrap the plan and find one that is less disruptive. If that one doesn’t work, try another. Even if it takes a dozen plans, don’t give up. ____ Tell them to stop dragging their feet or they’ll face disciplinary action. ____ Give bonuses to the first team to process 100 client calls in the new way. ____ Give everyone a copy of the new organization chart. ____ Start holding regular team meetings. ____ Change the annual individual targets to team targets, and adjust bonuses to reward team performance. ____ Talk about transition and what it does to people. Give coordinators a seminar on how to manage people in transition. There are no correct answers in this list, but over time I’ve

Spatial mapping of switches is not always appropriate. In many cases it is better to have switches that control activities: activity-centered control. Many auditoriums in schools and companies have computer-based controls, with switches labeled with such phrases as “video,” “computer,” “full lights,” and “lecture.” When carefully designed, with a good, detailed analysis of the activities to be supported, the mapping of controls to activities works extremely well: video requires a dark auditorium plus control of sound level and controls to start, pause, and stop the presentation. Projected images require a dark screen area with enough light in the auditorium so people can take notes. Lectures require some stage lights so the speaker can be seen. Activity-based controls are excellent in theory, but the practice is difficult to get right. When it is done badly, it creates difficulties. Activity-centered controls are the proper way to go, if the activities are carefully selected to match actual requirements. But even in these cases, manual controls will still be required because there will always be some new, unexpected demand that requires idiosyncratic settings.

In the future, you might use your Augmented Reality glasses while sitting in traffic to get out of the cold and have a place for you to do a video call, which of course will be radically different in the future due to Spatial Computing. No longer will we be stuck to 2D screens. Your business meeting could have virtual whiteboards, desks with virtual items on them, plus lots of 3D designs. Think about being an architect―you'll be able to work on your building design while sitting in a car that's driving you across Paris. Even if you are stuck in traffic, you won't care nearly as much as you do today because the vehicle you are in will be much more comfortable and quieter, and you'll have hyper-fast bandwidth available to your AR glasses.

Best mapping: Controls are mounted directly on the item to be controlled.        •  Second-best mapping: Controls are as close as possible to the object to be controlled.        •  Third-best mapping: Controls are arranged in the same spatial configuration as the objects to be controlled.

seven fundamental principles of design: 1.​Discoverability. It is possible to determine what actions are possible and the current state of the device. 2.​Feedback. There is full and continuous information about the results of actions and the current state of the product or service. After an action has been executed, it is easy to determine the new state. 3.​Conceptual model. The design projects all the information needed to create a good conceptual model of the system, leading to understanding and a feeling of control. The conceptual model enhances both discoverability and evaluation of results. 4.​Affordances. The proper affordances exist to make the desired actions possible. 5.​Signifiers. Effective use of signifiers ensures discoverability and that the feedback is well communicated and intelligible. 6.​Mappings. The relationship between controls and their actions follows the principles of good mapping, enhanced as much as possible through spatial layout and temporal contiguity. 7.​Constraints. Providing physical, logical, semantic, and cultural constraints guides actions and eases interpretation.

Design is not only about imagining an exterior form. It is even more centrally about the internal spatial experience that gives rise to form.

Develop spatial skills by modeling your school, house, or neighborhood. Learn engineering and design skills by making structural models of Buckminster Fuller’s tetrahedron-based geodesic domes, Snelson’s tensegrity sculptures, and other architectural forms. Teacher Brenda Jackson particularly recommends the modeling of bridges for its multidisciplinary aspects: “In [a] bridge design project,” she says, “a variety of disciplines is involved. Drawing the proposed design, coping with the practical problem of tension, and using calculations and manual skill in making the model, are all parts of the problem. Testing the bridge to destruction, although somewhat noisy, involves learning in a practical way, and the results are often so spectacular that they are unlikely to be quickly forgotten.

Ian Schrager, who remains a trendsetter in the elite sector with his Starck hotels, compares the hotel's spatial layout with a play: the lobby is the prelude, the first act of the hotel's drama, which has its finale in the individual guest rooms.

To fulfill this vision, the VERSES Foundation is proposing a set of universal standards and open protocols for Web 3.0 designed specifically to enable standards for defining and enforcing digital property ownership, data privacy and portability rights, user and location-based permissions, cross-device and content interoperability, and ecosystem marketplaces by enabling the registration and trustworthy authentication of users, digital and physical assets, and spaces using new standardized open formats, and shared asset indices secured by spatial domains, in which rights can be managed by a spatial programming language, viewed through spatial browsers, and connected via a spatial protocol.

in the UK and Elemental [Fig.2.4] in Chile, both of whom are acutely aware of the need to understand and intervene in the micro-economics and social networks at stake in the design and production of any environment.

Sound performance The sound quality depends on how well the codec can reproduce different recording situations. However, different people may hear the sound differently 1. Pitch, principles: The performance is better when the codec can restore different recording situations more accurately. 2. Loudness, principles: The performance is better when the codec can restore different recording situations more accurately.) 3. Tone color : ① Frequency range (principle: The codec can cover the range of frequencies that humans can hear, which is from 20 Hz to 20,000 Hz. ②Response time (principle: the shorter the better, excellent threshold is 10ms.) ③The spatial effect (The best codec is the one that can create a realistic sound effect without distorting or losing any specific frequencies. It should also have a balanced ratio of sound quality and compression.) 4. Sense of space, the principle: The codec should be able to reproduce the sound as if it is coming from different distances and directions in the recording studio. 5. Tuning style, the principle: The codec should be able to capture the details of the sound, such as the resolution, the atmosphere, the balance and connection of the three frequencies (bass, midrange, and treble), and the vocals and instruments. The codec should also be able to match the original recording as closely as possible. If the codec has a different tuning style from the original recording, it is not necessarily worse, but it should still be clear and pleasant. If the codec has a better tuning style than the original recording, it is even better.

Modern Movement architects and designers reinterpreted the rooms of buildings in new ways, using the language of "spatial relationships" and "volumes" in influence display environments.

The act of making that designers find so satisfying is built into early childhood education, but as they grow, many children lose opportunities to create their own environment, bounded by a text-centric view of education and concerns for safety. Despite adults’ desire to create a safer, softer child-centric world, something got lost in translation. Jane Jacobs said, of the child in the designed-for-childhood environment: “Their homes and playgrounds, so orderly looking, so buffered from the muddled, messy intrusions of the great world, may accidentally be ideally planned for children to concentrate on television, but for too little else their hungry brains require.”9 Our built environment is making kids less healthy, less independent, and less imaginative. What those hungry brains require is freedom. Treating children as citizens, rather than as consumers, can break that pattern, creating a shared spatial economy centered on public education, recreation, and transportation safe and open for all.

The question at stake is whether we can actually design, in the deepest spatial sense — that is, harness the organizational power of evolutionary systems, to generate richer, more connected, more adapted, more alive human environments.

eXtended Reality (XR) and spatial computing are inherently familiar to humans, with the potential to reshape not only our social interactions but also human-computer interaction.