1. ⁘  ⁘  ⁘
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  3. Abbott, Edwin A. 1
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  170. Isaacson, Walter 28
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  180. Keith, Jeremy 6
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Constraints

Close
  • One brick

    She came in the next class with a puzzled look and handed him a five-thousand-word essay on the front of the Opera House on the main street of Bozeman, Montana. “I sat in the hamburger stand across the street,” she said, “and started writing about the first brick, and the second brick, and then by the third brick it all started to come and I couldn’t stop. They thought I was crazy, and they kept kidding me, but here it all is. I don’t understand it.”

    Neither did he, but on long walks through the streets of town he thought about it and concluded she was evidently stopped with the same kind of blockage that had paralyzed him on his first day of teaching. She was blocked because she was trying to repeat, in her writing, things she had already heard, just as on the first day he had tried to repeat things he had already decided to say. She couldn’t think of anything to write about Bozeman because she couldn’t recall anything she had heard worth repeating.

    She was strangely unaware that she could look and see freshly for herself, as she wrote, without primary regard for what had been said before. The narrowing down to one brick destroyed the blockage because it was so obvious she had to do some original and direct seeing.

    Robert M. Pirsig, Zen and the Art of Motorcycle Maintenance
    www.drury.edu
    1. ​​Rationality: From AI to Zombies​​
    2. ​​I recommend eating chips​​
    3. ​​Looking Closely is Everything​​
    4. ​​The Student, The Fish, and Agassiz​​
    • writing
    • constraints
    • seeing
  • Every exit is an entrance somewhere

    everyexit.png

    At the Ace Hotel in New York, a required exit sign over a door was an eyesore, and a stark contrast from the considered, detailed wall where it was mounted. Rather than accept the wart as it was, the sign was embraced as a chance to create an experience for the hotel’s guests by integrating the exit sign into the space. Now, surrounding the sign are other letters painted on the wall in a similar condensed style.

    Every requirement is an opportunity for delight, even the ugly ones. Sometimes the creative treatment of these warts are the most enjoyable parts of a design.

    Frank Chimero, The Shape of Design
    • constraints
    • design
    • exits
    • transitions
  • The fountainhead of beauty

    It might be said that the carving of a woodblock encompasses the greatest restriction on freedom. Printmakers come under extraordinary natural constraints on their work. Strangely enough, however, it is this restriction that is the fount of beauty. Constraint and restriction themselves become a blessing.

    ...Many people see a lack of freedom as the death knell of art. That may be true in the case of the fine arts, but in the handicrafts, lack of freedom is the fountainhead of beauty.

    Yanagi Sōetsu, Woodblock Prints
    • constraints
    • creativity
  • The momentum of making

    Limitations narrow a big process into a smaller, more understandable space to explore. It’s the difference between swimming in a pool and being dropped off in the middle of the ocean with no land in sight. Those limitations also become the basis for the crucial first steps in improvisation. After those, the momentum of making accelerates as ideas are quickly generated without judgment.

    Frank Chimero, The Shape of Design
    • constraints
  • Constrained by the medium

    The inevitable reciprocation that occurs between the act of drawing and the thinking associated with it. The hand moves, the mind becomes engaged, and vice versa. We might ask: How much does the medium of expression actually constrain a design process?

    A medium has a way of constraining our choices, and this influence may not involve conscious choice at all. The planner, in the end, sees and understands only those things for which they can provide expression.

    Peter G. Rowe, Design Thinking
    1. ​​Michaelangelo's hammer​​
    • constraints
    • expression
    • media
  • A normal wooden pencil

    Aaron: You know that story about how NASA spent millions of dollars developing this pen that writes in Zero G? And how Russia solved the problem?

    Abe: Yeah, they used a pencil.

    Shane Carruth, Primer
    • problems
    • creativity
    • constraints
    • cosmos
  • Changing constraints

    The Constraints Keep Changing

    The explicit listing of known constraints in the design program helps here. The designer can periodically scan the list, asking, “Can this constraint now be removed because the world has changed? Can it be entirely circumvented by working outside the design space?”

    Frederick P. Brooks, Jr., What's Wrong With This Model?
    1. ​​What's wrong with the rational model​​
    • constraints
  • The Microsoft Sound

    A Quote by Brian Eno
    www.sfgate.com

    The thing from the agency said, "We want a piece of music that is inspiring, universal, blah- blah, da-da-da, optimistic, futuristic, sentimental, emotional," this whole list of adjectives, and then at the bottom it said "and it must be 3 1/4 seconds long."

    I thought this was so funny and an amazing thought to actually try to make a little piece of music. It's like making a tiny little jewel.

    In fact, I made 84 pieces. I got completely into this world of tiny, tiny little pieces of music. I was so sensitive to microseconds at the end of this that it really broke a logjam in my own work. Then when I'd finished that and I went back to working with pieces that were like three minutes long, it seemed like oceans of time.

    • music
    • constraints
    • time
    • creativity
  • To abandon control

    In print the designer is god. An enormous industry has emerged from WYSIWYG, and many of the web’s designers are grounded in the beliefs and practices, the ritual of that medium. As designers we need to rethink this role, to abandon control, and seek a new relationship with the page.

    The control which designers know in the print medium, and often desire in the web medium, is simply a function of the limitation of the printed page. We should embrace the fact that the web doesn’t have the same constraints, and design for this flexibility. But first, we must “accept the ebb and flow of things.”

    John Allsopp, A Dao of Web Design
    alistapart.com
    • typography
    • constraints
  • Delight is constraints, joyfully embraced

    An Article by Craig Mod
    craigmod.com
    Image from craigmod.com on 2021-12-06 at 8.18.04 PM.jpeg

    And what is delight? For me, delight is born from a tool’s intuitiveness. Things just working without much thought or fiddling. Delight is a simple menu system you almost never have to use. Delight is a well-balanced weight on the shoulder, in the hand. Delight is the just-right tension on the aperture ring between stops. Delight is a single battery lasting all day. Delight is being able to knock out a 10,000 iso image and know it'll be usable. Delight is extracting gorgeous details from the cloak of shadows. Delight is firing off a number of shots without having to wait for the buffer to catch up. Delight is constraints, joyfully embraced.

    • photography
    • constraints
    • joy
    • craft
  • Embracing design constraints

    An Article by Adrian Roselli
    adrianroselli.com

    Constraints have been shown to generally improve innovation. Giving targets and parameters helps ensure a team is working in unison. Identifying what is out of bounds can further focus that team.

    • design
    • constraints
    • accessibility
    • function
  • Hand and brain design

    So what does hand and brain design look like?

    In every feedback conversation, one person is the hand. That’s the person doing the design — they’ll leave the meeting and go back to their computer and fire up a dozen Adobe apps. The other people in the room (virtual or otherwise) are the brain. Regardless of their skill in design, it’s their job to give the hand some constraints to work within.

    But not to tell them exactly what move to make.

    Matthew Ström, The hand and the brain
    matthewstrom.com
    • design
    • constraints
  • Autonomous constraints

    Autonomous or independent constraints do not derive from the problem as given and understood…there was nothing in the problem statement, or brief, that required any reference be made to it. This constraint, introduced by the designers, usefully transcended the givens of the problem situation.

    Unless the entire problem at hand can be solved using strictly problem-oriented constraints, we have to step outside the known problem context in order to continue problem solving activity.

    Peter G. Rowe, Design Thinking
    • constraints
  • The minimum condition

    When a device is so designed that its component parts are only just strong enough to get the intended result without danger of failure, we may say it is in its minimum condition.

    I suspect that the functionalists sometimes meant by functional design simply design aimed at the minimum condition for a device. In that case 'form should follow function' would mean that every system should be in its minimum condition, thus having certain limitations imposed on its form.

    David Pye, The Nature and Aesthetics of Design
    1. ​​Form follows function​​
    • function
    • constraints
    • design
    • minimalism
  • Freedomless freedom

    The beauty of kasuri is received as a gift. As long as the laws of nature are upheld, the beauty of kasuri remains intact. This demonstrates the curious principle that the artisan is deprived of technical freedom but works in the freedom of nature.

    In this sense, kasuri can be said to be created in a state of freedomless freedom.

    Yanagi Sōetsu, The Beauty of Kasuri
    • freedom
    • constraints
    • nature
    • making
  • Recognizing Constraints

    An Article by Jeremy Wagner
    css-tricks.com

    Super Nintendo games were the flavor of the decade when I was younger, and there’s no better example of building incredible things within comparably meager constraints. Developers on SNES titles were limited to, among other things:

    • 16-bit color.
    • 8 channel stereo output.
    • Cartridges with storage capacities measured in megabits, not megabytes.
    • Limited 3D rendering capabilities on select titles which embedded a special chip in the cartridge.

    Despite these constraints, game developers cranked out incredible and memorable titles that will endure beyond our lifetimes. Yet, the constraints SNES developers faced were static. You had a single platform with a single set of capabilities. If you could stay within those capabilities and maximize their potential, your game could be played—and adored—by anyone with an SNES console.

    PC games, on the other hand, had to be developed within a more flexible set of constraints. I remember one of my first PC games had its range of system requirements displayed on the side of the box:

    • Have at least a 386 processor—but Pentium is preferred.
    • Ad Lib or PC speaker supported—but Sound Blaster is best.
    • Show up to the party with at least 4 megabytes of RAM—but more is better.
    • constraints
  • The differences in intentionality

    [Marc] Treib summarized Irwin's views on conditional art as follows: "One does not start with a personal vocabulary or manner to be adapter to each situation. Thus, given the differences in intentionality between art and design, the artist and the designer will 'plow different furrows seemingly in the same field.'" This is an important point since it gets at the difference that Irwin sees between art and design, the first of which is predicated, as he says, on the opportunity to deal with each situation freely and without constraints, and the latter, which is restricted in many ways from the outset by functional, stylistic, and economic concerns.

    Matthew Simms, Robert Irwin: A Conditional Art
    • constraints
    • art
    • design
  • When design gets too easy

    Design has invariably exhibited styles because some clear limitations on freedom of choice are psychologically necessary to nearly all designers. When design gets too easy it becomes difficult.

    David Pye, The Nature and Aesthetics of Design
    • constraints
    • style
  • Any imaginable shape

    The thing which sharply distinguishes useful design from such arts as painting and sculpture is that the practitioner of design has limits set upon his freedom of choice. A painter can choose any imaginable shape. A designer cannot.

    David Pye, The Nature and Aesthetics of Design
    • constraints
    • design
  • The Design Diagram

    An Idea by Charles Eames & Ray Eames
    www.eamesoffice.com
    Image from www.eamesoffice.com on 2021-08-27 at 10.46.34 PM.jpeg

    This Eames drawing, often referred to as the Design Diagram, was created for a 1969 exhibition at the Louvre entitled, What is Design? Charles and Ray mailed it to the exhibition curator to augment their answers to a series of questions she had posed.

    1. ​​The Design Squiggle​​
    • design
    • process
    • constraints
  • When Movable Type ate the blogosphere

    Here’s the crux of the problem: When something is easy, people will do more of it.

    When you produce your whole site by hand, from HEAD to /BODY, you begin in a world of infinite possibility. You can tailor your content exactly how you like it, and organize it in any way you please. Every design decision you make represents roughly equal work because, heck, you’ve gotta do it by hand either way. Whether it’s reverse chronological entries or a tidy table of contents. You might as well do what you want.

    But once you are given a tool that operates effortlessly — but only in a certain way — every choice that deviates from the standard represents a major cost.

    Movable Type didn’t just kill off blog customization.

    It (and its competitors) actively killed other forms of web production.

    Amy Hoy, How the Blog Broke the Web
    • constraints
    • choice
    • tools
  • “Design” is now “Product”

    An Article by Dorian Taylor
    dorian.substack.com

    Design has very little to do with what tools or methodologies you use, or what your job title is, or what you have a degree in, or even anything like “creativity”; design is about your relationship to constraints. Rather: to what extent are you defining constraints rather than just obeying them? Design is about taking a universe of possibilities and converging onto exactly one outcome. Being handed a set of constraints which you treat like immutable laws of physics (because many of them are) and solving within that envelope is what engineering is. To wit: what most designers are doing most of the time is actually a form of engineering, and engineers are always doing at least some design.

    This is because genuine design—the power to define constraints—is a privileged political position within an organization, and not everybody can occupy it. In other words, the “seat at the table” comes first. Design is Steve Jobs infamously dropping an iPod prototype into his fish tank, pointing at the bubbles coming out and yelling at his staff to make it thinner. It doesn’t matter what your title is; Jobs is the designer in that scenario.

    1. ​​Steve Jobs​​
    • design
    • engineering
    • constraints
  • You can almost tell which software they were designed in

    Tatiana von Preussen, cofounder of London practice vPPR Architects, says that certain software comes with constraints that encourage a particular style:

    “Something I’ve noticed with new buildings is that you can almost tell which software they were designed in. For instance, if you take Revit, it’s very hard to freely create non-orthogonal, non-linear geometries, and it’s very easy to create repetitive elements, so it lends itself to a particular way of building.”

    Nick Jones, Back to the Drawing Board
    1. ​​Every Tool Shapes the Task​​
    • constraints
    • tools
    • design
  • The 1916 Zoning Resolution

    Architecturally, what is striking about the 1916 legislation is that it sought to articulate a logical formula for achieving a public good in the absence of a specific vision of exactly what would actually be produced.

    Michael Sorkin, 20 Minutes in Manhattan
    • regulations
    • constraints
  • Necessity

    Loos's need to respond positively to the difficulties he encountered appeared in the errors that occurred during the construction of the Villa Moller. When the foundations were not laid as specified, he could not afford to dig them up and start again; instead, Loos thickened the form of one side wall to accommodate the mistake, making the thickened wall and emphatic side frame for the front. The formally pure properties of Villa Moller were achieved by working with many similar mistakes and impediments Loos had to take as facts on the ground; necessity stimulated his sense of form. Wittgenstein, knowing no financial necessity, had no such creative dialogue between form and error.

    Richard Sennett, The Craftsman
    • constraints

See also:
  1. design
  2. creativity
  3. function
  4. tools
  5. exits
  6. transitions
  7. style
  8. minimalism
  9. problems
  10. cosmos
  11. choice
  12. expression
  13. media
  14. writing
  15. seeing
  16. regulations
  17. music
  18. time
  19. freedom
  20. nature
  21. making
  22. typography
  23. accessibility
  24. process
  25. art
  26. photography
  27. joy
  28. craft
  29. engineering
  1. David Pye
  2. Frank Chimero
  3. Peter G. Rowe
  4. Yanagi Sōetsu
  5. Richard Sennett
  6. Frederick P. Brooks
  7. Jr.
  8. Shane Carruth
  9. Amy Hoy
  10. Robert M. Pirsig
  11. Nick Jones
  12. Michael Sorkin
  13. Matthew Ström
  14. Brian Eno
  15. Jeremy Wagner
  16. John Allsopp
  17. Adrian Roselli
  18. Charles Eames
  19. Ray Eames
  20. Matthew Simms
  21. Craig Mod
  22. Dorian Taylor