Structure
What the advancing interface leaves behind
A kind of moiré pattern
If the features of many are compared
Architecture equals structure
The brilliance of notion
The shape of the sentence
The right overlap
Separation of surface and structure
The nineteenth century saw an increasing separation between the treatment of the surface and the structure of designed objects. Mass production and a mobile market economy encouraged the production of heavily ornamented yet cheaply fabricated products. Affordable manufacture allowed the burgeoning middle class to acquire “luxury” goods fashioned after objects formerly reserved for an elite.
Rearranged
Put together with odd bits of the useless Clarice, a survivors’ Clarice was taking shape, all huts and hovels, festering sewers, rabbit cages. And yet, almost nothing was lost of Clarice’s former splendor; it was all there, merely arranged in a different order, no less appropriate to the inhabitants’ needs than it had been before.
Structural complexity
The idea of overlap, ambiguity, multiplicity of aspect, and the semilattice are not less orderly than the right tree, but more so. They represent a thicker, tougher, more subtle and more complex view of structure.
What we are accustomed to call beautiful
Most objects which we are accustomed to call beautiful, such as a painting or a tree, are single-purpose things, in which, through long development or the impress of one will, there is an intimate, visible linkage from fine detail to total structure.
The resistant virtues of the structure
A Quote by Eladio DiesteThe resistant virtues of the structure that we make depend on their form; it is through their form that they are stable and not because of an awkward accumulation of materials. There is nothing more noble and elegant from an intellectual viewpoint than this; resistance through form.
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”!’