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With *ing, computer programming becomes integral to the digital design process. It provides unique opportunities for innovation, enabling the designer to customise the software around their own predilections and modes of working. It liberates the designer by automating many routine aspects and repetitive activities of the design process, freeing-up the designer to spend more time on design thinking. Software that is modified through *ing offers a range of speculations that are not possible using the software only as the manufacturers intended it to be used. There are also significant economic benefits to automating routines and coupling them with emerging digital fabrication technologies, as time is saved at the front-end and new file-to-factory protocols can be taken advantage of. Most significantly perhaps, *ing as a computing program overlay enables the tool user (designer) to become the new tool maker (software engineer). Though *ing is not new to design, it is only recently that it has started to
A beautifully illustrated volume on the Tudor-style house, a keystone in American interiors and architecture. Since its birth in sixteenth-century England, the Tudor-style house has been a favorite for homeowners from all walks of life. Hallmarks of the style include steeply pitched gables and roofs covered in slate or imitation thatch, bays of casement windows with diamond-paned leaded glass, clustered chimney stacks, interiors of wood paneling and plasterwork, and, especially, half-timbered and stuccoed facades. In the United States, prime examples can be found coast to coast, from the Tudor City apartment buildings of New York to the stately homes of Tuxedo Park; from the cozy, Prairie-inspired homes of Oak Park, Illinois, to the richly nuanced Arts and Crafts inflected mansions of Pasadena, California. In an age when all agree that the McMansion, with its ungainly proportions and sameness of design, should be banished from the landscape, the Tudor house remains a delight and an inspiration, being anything