Only a mind opened to the quality of things, with a habit of discrimination, sensitized by experience and responsive to new forms and ideas, will be prepared for the enjoyment of this art. The experience of the work of art, like the creation of the work of art itself, is a process ultimately opposed to communication as it is understood now. What has appeared as noise in the first encounter becomes in the end message or necessity, though never message in a perfectly reproducible sense. You cannot translate it into words or make a copy of it which will be quite the same thing.
it is apparent that the unfolding of the design process assumed a distinctly episodic structure, which we might characterize as a series of related skirmishes with various aspects of the problem at hand.
As the scope of the problem became more determined and finite for the designer, the episodic character of the process seems to have become less pronounced. During this period a systematic working out of issues and conditions took hold within the framework that had been established. This phenomenon is not at all surprising when we consider the fundamental difference between moments of problem solving when matters are poorly defined and those with clarity and sufficiency of structure.
Within the episodic structure of the process, the problem, as perceived by the designer, tends to fluctuate from being rather nebulous to being more specific and well-defined. Furthermore, moments of "blinding" followed by periods of backtracking take place, where blinding refers to conditions in which obvious connections between various considerations of importance go unrecognized by a designer.