Sleepers A Poem by Nick Trombley m o t i o n l e s s m o t i o n l s e s m o t i o n s l e s m o t i o s n l e s m o t i s o n l e s m o t s i o n l e s m o s t i o n l e s m s o t i o n l e s s m o t i o n l e s s o m t i o n l e s s o m t i n o l e s s o m t n i o l e s s o m n t i o l e s s o m n t o i l e s s o m n o t i l e s s o m n o t l i e s s o m n o l t i e s s o m n o l i t e s Concrete poetry sleepeuphony
Because we have to sleep Two nights later, as he was getting ready to bed down, the boy looked for the star they followed every night. He thought that the horizon was a bit lower than it had been, because he seemed to see stars on the desert itself. "It's the oasis," said the camel driver. "Well, why don't we go there right now?" the boy asked. "Because we have to sleep." Paulo Coelho, The Alchemist sleep
To carve a volume into the void of darkness The nocturnal sound is a reminder of human solitude and mortality, and it makes one conscious of the entire slumbering city. Anyone who has become entranced by the sound of dripping water in the darkness of a ruin can attest to the extraordinary capacity of the ear to carve a volume into the void of darkness. The space traced by the ear in the darkness becomes a cavity sculpted directly in the interior of the mind. Juhani Pallasmaa, The Eyes of the Skin: Architecture and the Senses sounddarknesssleepsolitude
Traced in the summer skies Yes, it was the hour when, a long time ago, I was perfectly content. What awaited me back then was always a night of easy, dreamless sleep. And yet something had changed, since it was back to my cell that I went to wait for the next day…as if familiar paths traced in summer skies could lead as easily to prison as to the sleep of the innocent. Albert Camus, The Stranger sleepcrime
Wonder Plots Working from first principles, and working in a highly organized way seem to come naturally to him, but his personal design process is much less structured than the results might suggest. Although he can tightly organize his team and run a complex racing organisation, his personal ways of designing are relatively unstructured, based on annotated, thumb-nail sketches. ‘I don't sit down and say, OK, now I've had the idea, let's see, this is a solution, these are the different ways to go, if I do this, and do that; I do lots of scribbles just to save it, before I forget.’ Gordon’s design process is based on starting with a quick sketch of a whole idea, which is then developed through many different refinements. ‘I do a quick sketch of the whole idea, and then if there's one bit that looks good, instead of rubbing other bits out, I'd put that bit to one side; I'd do it again and expand on the good bit, and drop out the bad bit, and keep doing it, doing it; and end up with all these sketches, and eventually you end up throwing ninety percent of these away.’ He also talks to himself - or rather, writes notes to himself on the sketches; notes such as ‘rubbish’, ‘too heavy’ or ‘move it this way 30mm.’ Eventually he gets to the stage of more formal, orthographic drawings, but still drawing annotated plans, elevations and sections all together, ‘Until at the end of the day the guys at Brabham used to call them “Wonder Plots”, because they used to say “It's a wonder anybody could see what was on them”!’ Nigel Cross & Anita Clayburn Cross, Winning by Design: The Methods of Gordon Murray The Design Squiggle