By Robert Kirkbride (auth.), Robert Kirkbride (eds.)
We take hold of and remodel the realm via interplays of quantification and qualification. The move pollination of geometric and literary figures is deeply embedded in our cognitive conduct, tools of inquiry and the developed atmosphere. via time, notion has mirrored at the noticeable strategies and items of fabric craft to give an explanation for and educate the invisible workings of the brain. Recursively, fabric craft embodies a convention of splitting rules into express components and compositional devices for reassembly. even if the mathematical and verbal arts are usually put by contrast, human innovations occur a weave of alphanumerics. Mythic parables, geometric proofs, reminiscence arts, poems, algorithms, structures and towns emerge from the sex of degree and explication. This unique factor of the Nexus community Journal considers architectonic examples of prior, current and power geometries of rhetoric.
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This would be a real revolution in methods” [Phillips Exeter Academy, The History of Harkness Teaching]. The design of the table evolved until it comfortably fit a group of students, typically 12, and their teacher, such that everyone was able to make eye contact with one another. “As the physical table itself implies, learning at Exeter is a cooperative enterprise in which the students and teacher work together as partners” [Phillips Exeter Academy, The Harkness Table]. Some of the original tables were too large to fit through the classroom’s doorways, according to the Academy’s website, so “builders brought their materials to the classrooms and constructed the tables inside.
Books and the reader do not relate in a static way [Kahn 1965: 43]. Kahn proposed that at Exeter he would give new shape to the fundamental desires of reading and learning. McCarter commends Kahn’s “literal inversion of the traditional library programme and plan type” by turning inside out “the habitual separation of the central reading room from the peripheral book stacks”; placing the reading rooms, in the form of carrels, at the periphery; and keeping the books “within, protected from the natural light” [McCarter 2005: 306].
3), toward “the more prosaic white light” [Wickersham 1090: 142], where he finds a band of two-story high brick arcades circling the building. This is where we see the large windows that clouded our judgment of the building’s exterior scale. These windows provide light for the interior reading areas and mezzanine-level study carrels. Light is of course a central metaphor in Kahn’s designs, but here in the library it is critical both symbolically and functionally. Architect Brook 398 Shannon Mattern – Geometries of Reading, Light of Learning: Louis I.