On the Situations and Names of the Winds is the title of a fragment of a pseudo-Aristotelian treatise, most likely written by a later author of the Peripatetic school. The two-page work identifies and briefly describes the names not just of the four anemoi, but gives a wind-name to each of the twelve points of the so-called “wind-rose”, slightly less poetically the “compass rose”, which is the figure seen on classical nautical charts and maps that shows the cardinal points as well as points intermediate.
...In both agricultural and maritime settings, the names of the winds were at once practical and phenomenologically basic: to step outside and to feel them was to know how things were in the most basic sense, to “know which way the wind is blowing”, as we still vestigially say, and to find the language to speak of it.
...If I were ever permitted to teach a course on the philosophy of wind, I would begin with the questions: How did the winds lose their names? And what does it mean for us to live in a world of nameless winds? I step outside and I feel a gust. “That’s wind,” I think to myself, and I have nothing more to add beyond that. I don’t know the winds.
An important feature of their strategy is parallel working - keeping design activity going at many levels simultaneously. The best cognitive aid for supporting and maintaining parallel design thinking is drawing. Drawing with the conventional tools of paper and pencil gives the flexibility to shift levels of detail instantaneously; allows partial, different views at different levels of detail to be developed side by side, or above and below and overlapping; keeps records of previous views, ideas and notes that can be accessed relatively quickly and inserted into the current frame of reference; permits and encourages the simultaneous, non-hierarchical participation of co-workers, using a common representation.
The drawing of partial solutions or representations also aids the designer’s thinking processes, and provides some ‘talk-back’. As well as drawing, innovative designers frequently like to undertake practical work related to the design solution, such as building models or mock-ups, or participating in construction.