26 March 2013


ARNHEIM 380- Dunckner says that in the visual field the perception of an objects mobility is directly related to its level of dependency on the framework of the visual field. Do you agree?

ARNHEIM 376- Arnheim seems to suggest suggests that the mind is not capable of remembering events as sequential, even if the even is clearly perscribed by a linear structure that is time? Is this so? Why?

ARNHEIM 377- Arnheim talk about perception of an event as it relates to the route of disclosure, specifically referring to Hamlet. How important do you think the route of disclosure is to architecture? as designers do you think we try to force this? ie architectural promenade

ARNHEIM- How do you think movement effects fixation?

ALLEN 48- How do you perceive architecture's "in-between" situation? what are some newly arising examples of where this can be advantagous?

ALLEN 56- Allen relates the history of cities to a collection of memories, but as technologies advance and information exchange is more easily communicated, the memories of cities are erased. Can the same be said for our memories/identities?

Allen 57- with the advancement of technologies, do you really think that the "discipline of architecture itself" has been marginalized as Allen says?

ALLEN & ARNHEIM- how does architectures "in-between" situation relate to an event that is experienced in a simultaneous manner?

ALLEN 46- Allen says "Architecture, like music or dance, is not concerned to imitate reality", but later goes on to praise diagram architecture. Is this in a way contradiction?

24 March 2013

Week 10_Muybridge & Movement


1)      P. 42
The notations of mathematics and time-based art forms are stated as related areas. How are they related other than their abstractness?

2)      P. 43
Consider the Bruno Latour quote, “when a machine runs efficiently… one need focus on its inputs and outputs and not on its internal complexity.” Do you agree with this statement or are there other opportunities and processes one can pull from the internal complexity?

3)      P. 46 & 50
Can an architectural drawing be notational without numbers or texts by using other types of annotations, symbols, or implied scales? (Use Schlemmer diagram on p. 50) Can notations have multiple interpretations as diagrams do?
4)      P. 53
What are the positives and negatives of moving toward diagram architecture? What are other alternatives?

5)      P. 59-60
Allen promotes “new tools” to map illegible cities into legibility; are there any existing tools, programs, or systems that could be used, maybe differently and/or specifically for this purpose? Can maps scripts and diagrams be used to simplify illegibility in contemporary cities?

6)      P. 66
In the conclusion, Allen mentions mapping, projection, and notation as techniques of representation. How can projection be specifically used as a method of architectural representation?


7)      P.372
When Arnheim defines “pure movement” as, “taking place between two objects and unrelated to either,” is this truly possible and how so? Does the viewer’s perception make a difference?

8)      P. 373-374
If the performance of the dancer is experienced as an event in space, not in time, does this experience become an event if there is a relationship to another object? Or the relationship to the next dancer coming on stage?

9)      376-378
Are there any other art forms (besides painting, music, literature) that have similar or contrasting types of movement relationships (i.e. simultaneity, sequence, action)?
10)   386-387 & 394-396
If color, size, and speed can alter the perception of movement in objects, can these elements influence architecture in a similar manner and/or manipulate users in space? Think of Michotte’s experiments and results as an example too. How can these topics be applied to architecture?

05 March 2013

Questions_Form of Data

1) The SARS diagrams present data gather data from a variety of Sources. Explain why it is so important to use a general syntax? (pg.78)

2) How do we evaluate the credibility of a n analytic graphic? On what grounds should we “buy” the argument? (pg. 79)

3) How can Mixed modal techniques help lessen the cognitive load? (pg. 83)

4) A variety of centaurs have been represented in celestial charts. Why does this one warrant inclusion in this book? (pg. 85)

5) The Hypnerotomachia ”is an aesthetic exemplar of printing, layout and typography…” aside from the style, What makes it a good example of multimodal techniques? (pg. 88-90)

6)  On pg. 92 Tufte compares Hitchcock’s story boards to the Hypnerotomachia. Why can this comparison be drawn?

7) How does the legal document on page 95 rely on the same strategies as the Hypnerotomachia to deepen the narrative.

8) In Sidereus Nuncius, how did Galileo’s original water color handle the big moon in comparison to his engraving. Which was more successful, why? (pg. 99)

9) On page 99.  Is there a disconnect between the images presented in the Sidereus Nuncius and the words? If so what is it?

10) “Before 1610 astronomy had largely been verbal gymnastics, speculation, philosophizing and disputation. How did the telescope change  that? (pg. 101)

04 March 2013

Tufte, pg. 46-64

1. Sparklines are "small high resolution graphics that are usually embedded in a full context of words, numbers, and images. " Explain how sparklines move through multivariate spaces and how the implications may result in a diagram of embedded value. pg. 47

2. Why are typographic sparklines so effective? Can these traces of sparklines within characters and fonts imply different moods, feelings, and meanings? pg. 48

3. When writing with data graphics, or producing sparklines within a set of images, words, or text, is the message of your intent amplified or lost (muddied)? Tufte defines this as "one of the best analytical designs ever." Is his stance accurate? 49

4. When taking analysis from financial reports such as stock readings or exchange rate readings for over a year, we are inputing quantifiable variables to produce sparklines. In what way can quality driven sparklines interfere with quantity driven sparklines? pg. 50

5. The diagram on pg. 52-53 of chromosome readings produces effects that graphically may imply architectural elements, such as an elevation or an abstract diagram. What elements of the graphic layout of data make the sparklines read architecturally?

6.  How can datawords imply different outcomes of events? For example, datawords can read win loss reports for sporting games graphically. What elements make the datawords more legible than a simple character of text or number? p.54

7. In reference to the Chart on pg. 56, the effect of the overtaking of boats, an action or verb, is represented graphically by intersecting two lines accordingly. Explain how grammar is interpreted into form (lines) within the Bumps Chart by Tim Granger. pg.56

8. Which plot reads more effectively, a 2D dotdashplot or a 3D dotdash plot? pg. 57

9.Explain why "lumpy" sparklines tend to read better than "spiked" sparklines and why post processing in other graphics based softwares such as Illustrator or photoshop enhances the quality, clarity, and meaning of a dataword or sparkline. pg. 60

10. Tufte gives a candid response to his positions on computers and their limitations. I wonder if he plays around with Grasshopper and Rhino. How does Rhino, a complex modeling software, and the native plug-in Grasshopper, an open-sourced algorithmic based parametric modeling plug in for Rhino that allows you to input and manipulate data, contest that of Tufte's? pg.63