DESIGN and MEANING

Post 534 by Gautam Shah

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Canongate_Wall

Design as a word refers to an abstracted image of things created or to be created. Design is made of many metaphoric elements, but may or may not be a surrogate of the original. Design could be considered as a virtual bridge between non-figurative idea and theme, to a configured form. Abstractions included in design are forms of representation for elements, materials and views. Once a concept is configured to a design, it no longer has that ephemeral character. A design remains a representation with substantial content in the abstracted language.

640px-FushimiInari_Taisha_Shrine-of-Torii

FushimiInari Taisha Shrine-of-Torri > Wikipedia image by SElefant

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A configured design has many limitations. The basic ones relate to sensorial aspects for which adequate metaphoric elements are not available. Design as a result relies on other forms of expressions such as scaled and angled views, scaled models, component mock-ups, full size pilots. The most important limitations of design expressions, at least from the designer’s point of view, however, are the inabilities to find a logical transliteration of subjective expressions of the concept. A designer may overcome this through improvisations in design development and frequent course corrections during execution. Of these, the first is possible, where the design creation relies on in-house staff and less on external consultants or component vendors. The second aspect is possible if only the design execution is (as a workable entity) within the organization (design+build practice per the American parlance).

Engineering_drawings_with_Machinery's_Handbook

Historically Design process has been projection view oriented, which over the period has become orthographic projection system. This later one allows true measurements off the view, except for singly or doubly curved and tapered or inclined object-surfaces. Modern day CAD aided tools break this anomaly for perception as well as production. Earlier ‘nonconformist’ and current day ‘deconstructionist architecture’ would not have been configured with Ortho projection system. Where drawn design, orthographic, isometric, perspective failed, the refuge was model making. It encouraged 3D sensing of the blocks, albeit at a smaller scale. Design models are more viewed from the top than at ant-level in absence of microscopic tube viewers. This results in several building that are well blocked, and with neatly designed terraces and silhouette, but a poor street level configuration.

640px-Siu_Hong_Court

In design, the surface qualities and material feel expressions are represented through metaphors. ‘To state a commonality, a metaphor goes beyond to a concrete or real world association’. The metaphors provide a comparison valid for certain class of people. A Design becomes a hand written medical prescription read by the pharmacist. A medical prescription however, can be printed but a design cannot be read by any other mode. A x- ray, sonography image or MRI scan, can be read and interpreted by expert, but not by a lay person. Similarly a design often fails to make any sense to the stack-holders unless explained through other modes of presentations.

architect-graphics-abstract-building(1)

Head MRI showing deep intracerebral hemorrhage due to bleeding within the cerebellum Wikipedia image by Author Bobjgalindo

The metaphors are used as bridges to things that are real and proximate and via ephemeral entities of past experiences or possible future encounters. A design with literary explanations is likely to be more metaphor ridden as it may use a figure of speech, image, story or subjectively comparable object for non tangible thing or ideation.

Czech-2013-Prague-Astronomical_clock_face

Prague astronomical clock (1410) by clock makers Mikulas and Jan Sindel > Wikipedia image by Godot13 (Andrew Shiva / Wikipedia / CC BY-SA 4.0)

These issues of design and its expression become far more acute as a design, instead of a recipe to build something (traditional material +methods’ specifications) has to offer only performance specifications or expression of requirements.

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BUILDING as a COMPLEX SYSTEM

Post 508  by Gautam Shah

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640px-Gassho-zukuri_farmhouse-02

A building is a complex system that manifests for a set of Users, within an Environment, and built through many different Components. Users pose a set of demands that are situational and circumstantial. The Environment affects the building, and gets affected by its existence. The Components forming the building have a variable mutual dependency, some of which are rare, but required for assuring the safety and security.

640px-Upper_Grenfell_Tower

User-related demands and environmental affectations bear upon the building’s fabric, where components show unequal performance. Some of these components are mutually dependent, and have a state of permanency, but many are detachable and so replaceable and up-gradable. Replacement of components occurs during regular maintenance schedules with identical or upgraded units. Alterations and Renovations are considered opportunities for rejuvenating and upgrading the building system. There is distinct effort to improvise the system by replacing subsystems with new technologies. Compared to these changes, for buildings going through Conservation, all components and sub-systems are sought to be continued, by small repairs or replacing with re-manufactured identical elements.

640px-Bulgaria-Brashlyan-05

Building as complex system is agglomeration of various components and subsystems, where the detachable entities can be replaced. The changes are carried out to replace not only the worn out components, but to add more productive components. Components and subsystems are replaced to endow a new image to the building. The technological up-gradation of subsystems or components occurs in many ways.

PV_external_shading_device_in_zero_energy_building_of_Singapore1 Custom-made components and subsystems are replaced by standard systems. These, makes future servicing and replacement much easier.

2 Newer systems are preferred for their efficiency in terms of energy use, out-put of waste products, compactness, fitment rationale, noise and vibrations.

3 Newer systems are multipurpose, and replace several sub-systems that existed as layers or closely placed elements.

Image Wikipedia – Flickr by Author flickr user rick

4 New components and subsystems have different fitment parameters, and so require customized installation yet the replacements always remain detachable.

5 When a building is completely overhauled, it offers a chance to integrate several stand-alone sub-systems by spatial rearrangement or rescheduling.

6 New subsystems have built-in provisions for remote switching, monitoring and synchronized operations, these allow for networking through master control.

Macdougal_Street_and_Minetta_Lane_street_scene_NYC

 

7 Older sub-systems and components were support structure and location dependent, requiring walls, external facing, services connections, etc. Newer systems have reduced dependence being lighter in weight, compact in size, energy efficiency, requiring no liquid-solid fuels and no waste output.

640px-Duxton_Road_shophouses_2

 

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METAL EMBELLISHMENTS -PAINTED ENAMELS

Post 501  by Gautam Shah

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Surface finishing or decorating with a foreign material is a very ancient technology. Metals have been embellished by several techniques. Metals have been coated by metal plating, surface alloying and deposition. Metals have been inlayed with metals, precious stones and objects.

Vairochana_Buddha,_China,_Qing_dynasty,_19th_century_AD,_jade,_gilt_bronze,_enamel,_pearls,_kingfisher_feathers_-_Royal_Ontario_Museum_-_DSC03754

These include:

Damascening a technique of encrusting gold, silver or copper wires in the finely chased surfaces of iron, steel, or bronze.

Niello is made from black metallic alloy of sulfur with silver, copper, or lead. It is filled in chased or engraved patterns over silver. The surface is heated for the niello to melt. On polishing the surface gets a dual metallic effect.

Granulation is made by soldering or fusing granulated beads of silver or gold to effect a bloom to the surface than of a beaded surface.

Filigree is made by forming a fine network of very thin wires fused selectively and than fixed on a metal surface of an object.

Ajouré is similar to filigree but the fine network is created by cutting or piercing the patterns in the metal. Raised patterns or cut out motifs are also fused onto the surface.

Embellishments with Other Materials were formed using precious stones, exotic substances such as rare woods, metals, ivory, horn, beads, sea shells, jade, and amber, and niello-work, fixed into chased or performed cavities or depressions. Fixing was by wire, metal forming, heat-fusing, thread knitting and knotting.

Inlay works are of many varieties. Pre-formed cavities or depressions are filled in by many different materials such as wood, stones and metals. The fixing is with tight fitting, adhesives, or by hammering a ductile metal.

Gilding is application of metal like silver, gold, silver, palladium, aluminum, and copper alloys, in the form of very thin foils. Gilding by gold or silver foils requires as no adhesives as sufficient electrical charges attract the foil to the base, however for permanent fixing (on exterior use) some form of adhesives are used.

Overlays can be defined as metal sheathing or cladding by metal sheets that are slightly heavier than used for gilding. Overlaying is also done by applying a gold amalgam (gold+mercury) and than removing the mercury with heat.

painted enamel on copper 290x 240mm

Enamelling is a metal embellishment technique wherein a vitreous glaze is heat-fused to create a very long lasting decorative effect of brilliant colours. (Read on > Enamels).

Snuff bottle, northern India, 18th century, gold, gemstones and enamel

An Enamel is a compound of flint or sand, red lead, and soda or potash which forms a glass like material on being melted. Low temperature fusing is easier to manage, but creates a soft glass surface that is prone to cracking. Hard enamels are formed at higher temperature are better lasting, but it is a slightly difficult process.

Miniature of Marie Louise d’Orléans, future Queen of Spain by Jean Petitot le vieux (1607-1691)

Painted Enamels are like miniature oil paintings. These are made on a metal base or plate covered with a layer of an opaque enamel. The opaque or white enamel base is further embellished with ‘glass forming but with colouring materials’, rendered by fine needle painting, spraying, screen printing, spattering, scratching or block printing. Separate firing is required for each of the colours. Artists created portraits and other art subjects on very small metal plates, surpassing richness of larger canvass-based oil paintings. Painted Enamels being very small could be carried anywhere as a personal item of collection or treasure. The colours are permanent and non-yellowing or fading. The painted enamel has remained a craft and is not accepted as medium of art. The painted enamels of China are known as Canton (Guangzhou) enamels. Painted enamels are termed by the Chinese yangci (foreign porcelain).

Coloured enamel embellishments were created over arms, armour, mirrors, bowls, cups, chalices, spoons, and miniature pendants, tableware, wall and ceiling panels, signages, table clocks, and snuffboxes.

‘Mercury’, painted enamel and gilt on copper mirror back

Five main types of enamelling processes are used:

Champlevé (French= raised field) enamels are created by scratching or etching a copper surface, which are than filled-in with pulverized enamel material, fired and polished.

Cloisonné (French= partitioned) has very small partitions or cloisons formed with thin metal strips. The partitions are filled with pulverized enamel and fired.

Basse-Taille (French= low cutting) process is a kind of champlevé, but is applied to silver or gold. Here the depressions are filled with translucent enamel, which allows the substrate or patterns on it to be seen.

Plique-à-jour (French=open braids) enamelling resembles cloisonne, but here the partitions form a separable lattice. The lattice is removed after firing, giving an effect of stained glass. It is exceptionally fragile work.

Encrusted Enamel: Encrusted enamel or enamel en ronde bosse is prepared by spreading of an opaque enamel paste over slightly roughened surfaces of objects such as small figures.

Binding representing the Crucifixion of Christ, Limoges (Limosin, France) champlevé enamel on gilded copper

 

LIST of BLOGS on LACQUERS, PAINTS and THINNERS

Post 499  by Gautam Shah

1 UNDERSTANDING LACQUERS

https://interiordesignassist.wordpress.com/2015/08/16/understanding-lacquers/

2 LACQUERS or NC LACQUERS

https://interiordesignassist.wordpress.com/2014/04/27/lacquers-or-nc-lacquers/

3 SOLVENTS for THINNERS

https://interiordesignassist.wordpress.com/2015/08/09/solvents-for-thinners/

4 WOOD SURFACE FINISHING

https://interiordesignassist.wordpress.com/2015/07/13/wood-surface-finishing/

5 PAINT THINNERS Part 2

https://interiordesignassist.wordpress.com/2015/05/14/paint-thinners-part-2/

6 PAINT THINNERS Part 1

https://interiordesignassist.wordpress.com/2015/05/08/paint-thinners-1/

7 ROSEWOOD

https://interiordesignassist.wordpress.com/2015/03/26/rosewood/

8 INDUSTRIAL PAINT FINISHES

https://interiordesignassist.wordpress.com/2015/03/07/industrial-paint-finishes/

9 APPLICATION of COATINGS

https://interiordesignassist.wordpress.com/2015/01/09/application-of-coatings/

10 COATINGS -Surface finishing technologies

https://interiordesignassist.wordpress.com/2014/11/08/coatings-surface-finishing-technologies/

11 CLEAR COATINGS

https://interiordesignassist.wordpress.com/2014/09/12/clear-coatings/

12 FILM FORMING PROCESS in COATINGS

https://interiordesignassist.wordpress.com/2014/09/03/film-forming-process-in-coatings/

13 WOOD SURFACE PREPARATIONS for CLEAR COATINGS

https://interiordesignassist.wordpress.com/2014/04/28/wood-surface-preparations-for-clear-coatings/

14 SHELLAC COATINGS and FRENCH POLISHES

https://interiordesignassist.wordpress.com/2014/04/26/shellac-coatings-and-french-polishes/

15 VARNISH

https://interiordesignassist.wordpress.com/2014/04/25/varnish/

16 MULTI COATS of PAINT SYSTEMS

http://talking-interior-design.blogspot.in/2014/03/multi-coats-of-paint-systems.html

17 WOOD FINISHES

http://talking-interior-design.blogspot.in/2014/07/wood-finishes.html

18 CLEAR COATINGS

http://talking-interior-design.blogspot.in/2015/03/clear-coatings.html

19 CEMENT SURFACE FINISHES

http://talking-interior-design.blogspot.in/2015/06/cement-surface-finishes.html

20 CRAFT of WALL PAINTING (Neolithic)

http://talking-interior-design.blogspot.in/2014/02/the-craft-of-wall-painting-neolithic.html

21 CRAFT of WALL PAINTING (Palaeolithic)

http://talking-interior-design.blogspot.in/2014/01/the-craft-of-wall-painting-palaeolithic.html

22 COATINGS

http://talking-interior-design.blogspot.in/2013/09/coatings.html

23 COATINGS Iron age

http://talking-interior-design.blogspot.in/2013/09/coatings-iron-age.html

24 PRIMITIVE COATINGS Surfaces, Materials and Techniques

http://talking-interior-design.blogspot.in/2013/09/primitive-coatings-surfaces-materials.html

25 LIME-WASH

https://interiordesignassist.wordpress.com/2014/06/01/lime-wash/

26 PAINTING WHITE – 1

https://interiordesignassist.wordpress.com/2015/07/27/painting-white-1/

27 PAINTING WHITE – 2

https://interiordesignassist.wordpress.com/2015/07/29/painting-white-2/

28 BLACK Part – 1

https://interiordesignassist.wordpress.com/2015/08/07/black-part-i/

29 COLOURANTS DYES and PIGMENTS

https://interiordesignassist.wordpress.com/2014/07/15/colourants-dyes-and-pigments/

30 RED Colours of ancient times

https://interiordesignassist.wordpress.com/2015/05/22/red-colours-of-ancient-times/

31 ART COATINGS

https://interiordesignassist.wordpress.com/2015/05/25/art-coatings/

32 PRIMITIVE COATINGS # 1

https://interiordesignassist.wordpress.com/2015/05/03/primitive-coatings-1/

33 NATURAL IRON OXIDE PIGMENTS 4 # SIENNA and UMBER

https://interiordesignassist.wordpress.com/2015/05/01/natural-iron-oxide-pigments-4-sienna-and-umber/

34 NATURAL IRON OXIDE PIGMENTS -3 # Ochers

https://interiordesignassist.wordpress.com/2015/04/28/natural-iron-oxide-pigments-3-ochers/

35 NATURAL IRON OXIDE PIGMENTS – 2 # Red Oxides

https://interiordesignassist.wordpress.com/2015/04/27/natural-iron-oxide-pigments-2-red-oxides/

36 FLOOR PAINTS

https://interiordesignassist.wordpress.com/2015/03/21/floor-paints/

37 ARCHITECTURAL COATINGS -beginnings of OIL PAINTS

https://interiordesignassist.wordpress.com/2015/02/15/architectural-coatings-beginnings-of-oil-paints/

38 SURFACE PREPARATIONS

https://interiordesignassist.wordpress.com/2014/09/26/surface-preparations/

39 WHITE PIGMENTS

https://interiordesignassist.wordpress.com/2014/08/05/white-pigments/

40 CEMENT PAINTS

https://interiordesignassist.wordpress.com/2014/07/09/cement-paints/

41 OIL BOUND DISTEMPERS -OBD

https://interiordesignassist.wordpress.com/2014/07/03/oil-bound-distempers-obd/

42 CEMENT FINISHES part 2

https://interiordesignassist.wordpress.com/2014/06/27/cement-finishes-part-2/

43 DRY DISTEMPER or CALCIMINE

https://interiordesignassist.wordpress.com/2014/06/03/dry-distemper-or-calcimine/

44 ECOLOGY and COATINGS

https://interiordesignassist.wordpress.com/2015/03/09/ecology-and-coatings/

45 ENCAUSTIC PAINTING

https://interiordesignassist.wordpress.com/2014/06/06/encaustic-painting/

46 COLOURS and BUILDINGS

https://interiordesignassist.wordpress.com/2015/01/20/colours-and-buildings/

47 GLOSS

https://interiordesignassist.wordpress.com/2014/09/20/gloss/

48 COMPOSITION of COATING

https://interiordesignassist.wordpress.com/2014/07/29/composition-of-a-coating-3/

49 COLOURED GLASS

https://interiordesignassist.wordpress.com/2014/08/03/coloured-glass/

50 GRISAILLE -monochrome form of presentation

https://interiordesignassist.wordpress.com/2014/07/28/grisaille-monochrome-form-of-presentation/

51 WATER COLOURS

https://interiordesignassist.wordpress.com/2014/07/10/water-colours/

52 FRESCO PAINTINGS

https://interiordesignassist.wordpress.com/2014/06/24/fresco-paintings/

53 PRIMER COATINGS

https://interiordesignassist.wordpress.com/2015/06/07/primer-coatings/

54 SINGLE or MULTI COAT SYSTEMS

https://interiordesignassist.wordpress.com/2015/05/30/single-or-multi-coat-systems/

55 BRUSHES

https://interiordesignassist.wordpress.com/2015/03/29/brushes/

56 ENAMELS

https://interiordesignassist.wordpress.com/2015/02/18/enamels/

57 TEMPERA

https://interiordesignassist.wordpress.com/2015/01/24/tempera/

58 GP -General purpose paints

https://interiordesignassist.wordpress.com/2014/08/26/gp-general-purpose-paints/

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CREATIVE WRITING – 3

CREATIVE WRITING – 3

Post 474 by Gautam Shah

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For creative writing it is important to communicate the concept and purpose of the expression. Stating it explicitly as an introduction, or recapitulating as the summary at the end, serve only a limited purpose. An introduction or the summary, are dulled by the elaborate body, with the passage of time and by other interesting details. Both remain muted if the print style, manners of speech or the media support do not reinforce it. In digital access systems the introduction or summary, are generated automatically, without the author being involved in its creation. The media presentation of this is without any typographical or graphical enrichments.

Jewish Torah scroll

The contents of writing are yet focussed in several ways. In this article the remaining SEVEN methods are discussed, THREE were presented in the earlier article.

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4 – EMPHASIS BY CONDENSATION AND ELABORATION: The emphasis in presentations occurs by condensation and occasionally by elaboration of the subject matter. Primarily Condensation eliminates all unnecessary and less necessary contents, and thereby increase the clarity, reduce the expression size, delivery time, perception effort, etc. Condensation is also done by use of abbreviations and symbols that replace large units of contents. These include idioms, proverbs, metaphors, and signs. Condensation is often used to restrict the access to a specific class of audience, like magicians’ instructions.

Archived documents

Elaboration is achieved by augmenting the context of difficult to understand concepts, events, situations, or objects. It is also done by using the same word in different context, and using similar words (synonyms and antonyms from a thesaurus) to redefine the meaning. Multiple explanations help amplify content. Elaboration is also achieved by inclusion of anecdotes, couplets, quotations, footnotes, end notes, and other sensorial effects.

Emphasis is often created by intentional de-emphasis. Obvious details, concepts, ideas, conclusions are not put forward at the nominal time and space, but are placed at the end, or the audience is allowed to draw its own inferences.

The condensation and elaboration are employed to colour a document as a personal style statement.

Processed information often becomes so comprehensive that it becomes a very abstract expression. Abstracted expressions are exploited to achieve new insights.

Writing Declaration of Independence 1776.

5 – BRIDGING AND LINKING: The contents are bridged to create a seamless or a larger concept. The most common bridging is through time and space organization of the contents. The links to other documents (e.g. hyperlinks, bibliographies, index) are such reference bridges. Recorded contents are classified according to the nature of content, names of the author, date of publication, size and form of the document. Such classification identifiers also provide associations. A well bridged or cited content vouches its authenticity through circumstantial referencing.

Search engines list topics in terms of number of users referencing it. Wikipedia -the internet encyclopaedia relies on citations. Preface and such write-ups broach the subject by positioning it in a wider perspective.

Contents are also bridged using conjunctions. Words like and, if, or, when, then, whereas, therefore, etc. connect clauses or sentences. Bullets, numbered lists, also bridge sub topics.

archive store (History Centre) at Herbert

7 – SEPARATING AND ISOLATING: The contents are separated or isolated, by spacing and by tabulation (paragraphs, bullet marking, numbering, hyphenating, bracketing), to highlight or categorize the sub-topics. Separation in writing is achieved by commas, semicolons, brackets, or other interludes (gutter spaces in newspaper columns). In recordings a null space is provided for the machine to recognize the end of one section and the beginning of next one. By isolating the contents it becomes easier to link each such section distinctly.

Language encrypting machine

8 – ABSTRACTION: The contents are abstracted by removing all less important information, time slots and space gaps. The expression language in Internet chat rooms shows the nature of abstraction spreading across the world. Common words are written eliminating vowels and are denoted by their phonemes. Symbols and metaphors are also used to squeeze the contents. Vedic mantras represent knowledge in a very condensed form to easily remember it (‘Shrut Gyan’ -knowledge that is heard). However, such condensation is vulnerable to different interpretation of the contents.

9 – MARKING: Contents are marked to enhance (bold facing, underlining, Italics, large size type faces) their presence. The contents are delivered louder, faster or slower, brighter, repeatedly, and in metres (musical, couplets with rhymes) for the same effect.

Author Ernest Hemingway Writing at Campsite in Kenya

Author Ernest Hemingway Writing at Campsite in Kenya

10 – BY TITLING (NAMING): One of the best way of focussing (by declaration) the contents are to provide a title to it. A title as created by the author is more truthful but is not accepted by the reader or audience, as their intentions of accessing need not match the author’s perceptions. Storage systems create own titles to facilitate access by their users’ needs. Titles often have limitations of size. This is overcome by including long titles or list of keywords or summary or precis.

Presentations styles and techniques used for direct or inter personal communication like elocution, orations, sermons, lectures, cannot be used for, or are useless for reports, etc. Writhing as an assignment from superiors, teachers, retainers, employers have a defined motive, and structure. Method of presentation is essentially tailor-made to satisfy the assignee.

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This article in continuation of earlier >>

Creative writing

(https://interiordesignassist.wordpress.com/2014/10/23/creative-writing/ )

Creative Writing – 2

(https://interiordesignassist.wordpress.com/2015/07/14/creative-writing-2 ).

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STONE CRAFT

Post 464 –by Gautam Shah

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Stone craft consists of many distinct trades, like quarrying, handling-transporting, sizing, cutting, dressing, finishing and masonry work. The first stone craft was using the stone to make tools for working with materials. A right choice of stone quality and appropriate size-shape were important then, and continue to be so today.

640px-Canto_tallado_2-Guelmim-Es_Semara

Stone is used for many different purposes.

  1. as industrial raw materials for minerals,
  2. as a constituent material in various composites,
  3. in buildings, for masonry, flooring and applique work,
  4. as an art and craft material.

Paulnabrone

Strength of a stone is checked for following types of stresses:

Compressive stresses, tend to decrease the volume of the material, causing breaks with a shattering effect.

640px-Roman_era_stone_arch_bridge,_Ticino,_Switzerland

Tensile stresses, produce cracks and fissures, and torsion (or twisting). Generally, fine-grained rocks are stronger than coarse grained. Rocks with interlocking between the crystals are stronger than rocks with poor interlocking. Stratified rocks have poor strength along the plane or strata. Stratified rocks as a rule have lower strength than igneous and non-stratified homogeneous rocks.

Shear stresses, which move one part of a stone with respect to another, under certain conditions, inducing a permanent change of shape. These are best avoided by appropriate angle of extraction and cut, by careful orientation during coursing a masonry.

Cracks_at_Sunrise-on-Sea,_Eastern_Cape

Torsional stresses are important for structures of stones such as piers. Heat induced stresses were once critical for structures like fire places and hearths, but optional materials have obviated that as the criteria of design.

24890824133_cd843f5ebe_z

The general requirements for stones used in Buildings can be summarized as follows:

■ Sound, uniform rock material.

■ Presence of rifts to facilitate workability by hand tools.

■ Porosity advantageous for cementing, provided it does not decrease the resistance to weathering.

stone_wall_etruscan_antique_old_raw_tuff_unplastered_pattern-542379.jpg!d

640px-Lanzarote_-_stones_of_a_wall_-_pumice_stone

■ Inherent chemical stability to prevent fluorescence.

■ High strength (as required in certain cases).

■ Low specific gravity (necessary for easier handling and in light weight structures).

■ High abrasion resistance (an important factor for flooring, steps).

Palazzo dei diamanti, facciata principale. Wikipedia Image by Nicolò Musmeci

Masonry walls of stones require specific methods of construction such as:

1 Heaviest and thickest of pieces should be used for lower courses.

2 Small pieces of stones should not be used on outer face.

3 Best flat face with a smallest area should form the wall face.

4 Each stone must rest on a flat surface, if required flat face should be achieved preferably by dressing of the stone, by bedding material or mortar, or by use of splinters and wedges.

5 Wedges should be placed with their wider face on the inside and narrower face on the outside.

6 All loose particles, cleavages, layers should be removed before using a stone.

7 Joints must be staggered.

Palais du Luxembourg Bossage

8 In case of very thick walls, if more than two stones form a width, several full width stone should be employed for keying.

9 For all walls especially random masonry, the corners should be made of long rectangular stones of even thickness (preferably dressed).

Opus Reticulatum Pompeii Roman stone facing pattern Wikipedia Image by Jensens

10 Stratified stone materials should be used for compressive loads to occur across the section or strata.

11 For tension bearing areas stratified and sedimentary stone material should be avoided.

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PROBLEM SOLVING

Post 439 – by Gautam Shah

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Archimedes bath

Decision making involves some degree of problem solving. Alternatively it can be said that problem solving itself is a decision making process. In decision making some intuitive and alogical processes are operative, but problem solving occurs in a more realistic situation. Problem solving can be defined as an exercise of observing situations, vis a vis change causing elements.

A Bonobo at the San Diego Zoo fishing for termites

To solve a problem, it is necessary to separate it, as a unique entity or event. The issue is seen by severing its connections and dependencies with other entities and happenings. To make such a dissection, one has to define the level and intensity of various connections. This can be done by raising questions.

High_Five

Garden Maze at the St. Louis botanical gardens Wikipedia Image by Bachrach44

  • What is the problem?
  • Is the problem due to (external) multiple opinions or ideas?
  • Is the problem due to possible subjective assumptions?
  • Is the problem due to doubtful evidence?
  • Is the problem related implications and consequences of its outcome (decision)?

Perry Mason fictional detective Hopper Hale 1958 Paul Drake (William Hopper) and Della Street (Barbara Hale), with cop Frank Sully

We have read Sherlock Homes, Agatha Christie, Perry Mason and other characters raising-solving problems. Some problems are stated at the start, the book discovers ‘How the issue occurred’, and only in the last chapter or page one finds ‘Who caused the problem and How?’ In another scenario, one is first told ‘How and, Who causes the problem’, but one find later, ‘Why the happening was circumstantially caused?’ In still another setup, one is shown the event and the circumstances Which caused it. Here one is led to believe some false truth, or several conflicting possibilities. The author wants you to get involved in the process of investigations. The truth (at least in fiction) always is a surprise.

Honda Robot learning Step climbing

Assignments are simplest of problems as these are enforced exercises. There is a party which assigns the work and there is another, who undertakes the task. It is like a contract, where in goals or tasks are neatly defined, resources allocated, and delivery standards specified. Assignments deal with known things, but involve application of skill and management techniques. Students, employees (clerical) and jobbers (workers) are assigned such problems. It may lack a creative effort but productivity and sincerity are important factors.

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Difficulties occur for two reasons, either, we do not know, How to manage a situation, or feel that we lack the resources. Difficulties are subjective or objective. In the first case, the problem lies within the person. The person has the capacity, but is unable to accomplish a task. In the second case, the problem lies outside the person. A person may not have the talent, know how, motivation, resources etc. Difficulties, if subjective in nature, require training, exposure, motivation, etc. whereas objective ones need other physical inputs.

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Mystery is an unexplained deviation from what is expected. Our efforts are in finding out what has caused the deviation. But for a mystery to happen it is necessary to understand as to what is a deviation (size, scale, measure, range etc.) and what forms a standard. A deviation is not necessarily a bad or foul thing, it may be an advantage or even a gain. Mysterious problems get tackled as soon as deviation causing elements are identified.

And Then There Were None is a 1945 film adaptation of Agatha Christie_s best-selling mystery novel

Opportunities self presumed or situational offerings. A person or group defines a condition as the problem or a larger environment (social, political, academic) poses a specific situation worthy of a rethink. The specific situation is looked upon as consisting of opportunities. Evaluation of opportunities in terms of the potential benefit or loss leads to solution of a problem. Opportunities are time related, and so need to be perceived early.

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Giant Star Burr Puzzle

Puzzle is a situation where one knows a correct solution exists, but sufficient efforts are necessary to discover it. Puzzles are of Three types: Soluble, currently insoluble and ever insoluble. Soluble puzzles can be tackled with current knowledge. Currently insoluble puzzles will be hopefully solved, when resources and information are adequately available. Puzzles, however, remain insoluble, when certain important sections are irretrievably lost. Puzzles have such inbuilt solutions that in real sense, there are no need to solve any thing, but locate the solution and identify the way to reach it. Puzzles are solved as soon as the end itself, or the means to the end are in sight.

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Dilemmas offer multiple choices, each of which seems equally fitting. Dilemmas remain in-force only for a particular time span, situation or value judgment. Dilemmas, if handled by a different person, attended at another time, or dealt in another situation, may not be a problem at all. Dilemmas pose as twin offering, of which only one need be appropriate. So if the problem is probed further and deeper and separated from its dependencies one of the solutions is likely to be just slightly more superior or less inferior.

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The problems in life relate to what one may want to gain or possess, and forget or dispose something. Situations are known, but need some support to make it better managed. The support may be different attitude, and additional knowledge, resources or time. Situations seem to strange because one needs to realize that a problem does exist.

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