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"code" Tag


systems of thoughtful straights to speed up the round


Monday, February 22, 2016

 

 

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The code uses a sequence of vertical bars and spaces to represent numbers and other symbols. A barcode symbol typically consists of five parts: a quiet zone, a start character, data characters (including an optional check character), a stop character, and another quiet zone. The stripes can be scanned, the code is transferred to a computer where it is linked to the information about the product.

Unknown

It appeared for the first time on a piece of gum, invented to speed up the process of the person behind the counter, monitoring sales and supplies and eliminate errors and mistakes.

The speed and accuracy of the Universal Product Code made the barcode one of the most important and used designs of today.

In 1948 Bernard Silver, a student at Drexel Institute of Technology, was interested in developing a system to automatically read product information during checkout. Together with his friend Norman Joseph Woodland he started working on a variety of systems. Their first working system used ultraviolet ink, but the ink faded too easily and was rather expensive.

 

barcode patent1

 

 

His next inspiration came from Morse code. He used the dots and dashes of the code and extended them downwards to make narrow and wider lines out of them. To read them, he adapted technology from optical soundtracks in movies, using a 500-watt incandescent light bulb shining through the paper onto an photomultiplier tube from a movie projector. Although there was a interest from various of companies to buy the patent, the required equipment that was needed to process the information was some time off in the future.

 

KarTrak

 

 

Some years later David Collins used a similar system to developed a system called KarTrak IIIII, using blue and red reflective stripes attached to the side of the cars, encoding a six-digit company identifier and a four-digit car number, the system was found to be easily fooled by dirt in certain applications, which greatly affected accuracy. And was therefore abandoned.

In 1967, Collins formed the Computer Identics Corporation to develop a black-and-white version of the code for other industries. As its first innovations, Computer Identics’ moved from using incandescent light bulbs in its systems, replacing them with helium–neon lasers, and incorporated a mirror as well, making it capable of locating a barcode up to several feet in front of the scanner. This made the entire process much simpler and more reliable, and typically enabled these devices to deal with damaged labels, as well, by recognizing and reading the intact portions.
With these innovation the system became interesting for the food industry and in 1972, a supermarket in Cincinnati began an eighteen-month test with this system.

 

first accuscan

 

 

Barcodes were printed on small pieces of adhesive paper, and attached by hand by store employees when they were adding price tags. The code proved to have a serious problem; the printers would sometimes smear ink, rendering the code unreadable in most orientations. However, a linear code was printed in the direction of the stripes, so extra ink would simply makes the code “taller” while remaining readable.

All these technological and practical developments and decisions were crucial for the outcome of the design and therefore the success of the barcode.

Being first printed over a carefully designed package of gum, it soon manifested itself on almost all products that surround us. On a bottle of water, a wrapped piece of meat, a car tire, a steel pipe, plants in the plant shop and made its way into schools and hospitals. IIIII

 

barcode shop
One of the latest innovations: virtual shopping

 

so many stripes
beech forest in winterland
brilliant black and white

 

The ability for a visual design that only follows the rules of function, is present everywhere around us but rarely noticed, has to be included within other designs because of its economical value, and is still being useful after more than forty years makes the barcode a brilliant piece of design.

[white stripes on the hot and cold black lanes, crossing vast sands

long and longer directed, goal and great precision

moving all scanned created and known needs over water and land

straight to the verticals and horizontals of men]

Universal Language


Thursday, February 18, 2016

Juli Gudehus is an active German graphic Designer born in 1968. In her book Genesis she made the translations of the Genesis from the Christian Bible or the Torah in English, French, German, Italian, Spanish and in a more interesting way, in Pictograms.

Pictograms exist since cave art; they give information by a figurative drawing. It’s a common language that everybody can normally understand.

 

Genesis_1500

 

So this book is really about communication and most of all about universal communication. However, there is a lot of irony in it because the genesis also talks about the Babylon tower or how the humans where divided by god by confounded the language. The book which dignify the actions of god try to neutralize the consequences of his action.

This interesting paradox guide me to different universal languages. I will sum up with all these short discoveries.

First of all Esperanto, it’s an international language talk in 120 different countries. This Utopian idea was born around 1870 from Ludwig Lejzer Zamenhof. Its purpose is to be a second language and a bridge between cultures. This language avoids the risk of loosing cultural identities.

The sign language is another universal language which appeared around the fifth century BC. It’s a body language and manual communication uses at first to exchange information between deaf and mute people. Later it extends in basics exchanges in everyday life. The need to standardize an international sign system was discussed at the first World Deaf Congress in 1951, when the WFD was formed. In 1973 they published a standardized universal vocabulary.

 

International sign language alphabet

After the oral language and the body language the writing language of mathematics was constructed. First of all, you need to know that in each language the words have two components: the “signified”(abstract idea of language) and the “meaning”(concrete form of language). It’s a part of why languages are more difficult to assimilate. However, mathematics only use the “meaning” of the language and its why ambiguity can’t happen. Without these ambiguity mathematics looks like the more clear way of communication. Moreover, you can find mathematics everywhere in our human world: for example it rules the perfect way honeycomb is build or what we are wearing or eating today. And because it constructs our world it must be the universal language of this planet. But after all maybe mathematics is only a projection of humans on their environment. That is why I finally focus my investigations to the extraterrestrial communication or how human trying to communicate with something unknown. I continued this research on the hypothesis that this inter galactic language must be mathematics.

 

measurements

 

In 1974, the mission Pioneer 10 send the message Arecibo some 25 000 light year away. It was a binary message write by Frank Drake an American astronomer and astrophysicist. The binary system represents numeric values using two different symbols: typically 0 (zero) and 1 (one). Binary is what rules our digital world today and used by almost all computers and phones. The final picture of the message give information about the Earth and Humans: numbers,atomic composition of our principals components(as hydrogen or carbon), how our DNA structure looks like, how humans looks like , how tall we are, how many we are and where in the galaxy. Because of this long message distance we didn’t receive an answer yet and there is not a big probability to get one. In fact this operation was more about showing the capabilities of human technologies.

Here is a link to sent your personal binary message.

 

Arecibo

 

Another attempt took place in 1977. Two Voyagers spacecraft took aboard a gold phonograph record disc with 110 pictures of Earth and human life and 1 hour and 30 minutes of sounds and musics. A diagram on the record explained how to use it, partly written in binary arithmetic. The purpose is the same as a message bottle in the ocean but its goal is not anymore to communicate with an extraterrestrial life, it is also a time capsule for the future human generation.

This is a present from a small, distant world, a token of our sounds, our science, our images, our music, our thoughts and our feelings. We are attempting to survive our time so we may live into yours.

President Jimmy Carter

voyager-golden-record-images-supermarket-NAIC

 

Cosmic connection is the first TV message for extra terrestrial life. The message is transmitted from Toulouse (France) the 30 September of 2006 during the evening to the star Errai of the constellation Céphée and also on TV. The star is 45 light year from the Earth so we will maybe have an answer on 2096. The originality of the program is that the televiewers could send their own message out of the galaxy. These messages were shown in the same time as the TV show which was about the evolution of extraterrestrial idea from our society. But more than sending a message, this event was about sharing the thoughts of humans on extraterrestrial life.

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As all these messages tried to communicate with the outer world, they try to communicate with somebody or something with a capacity of understanding equal or more superior and of course similar with human. If an extraterrestrial life is not build on a mathematical logic, they may have some difficulties to receive and decipher our binary messages. But the hope to unite the nations under a same language is still present: even if the utopian and minor languages such as Esperanto, sign language and mathematics are not becoming complete universal languages. More than 1.8 billion people can more or less speak English. After decades of migrations and globalization, this language is probably the future of the universal language. Even before mathematics.

Wendingen as Layout and Form


Wednesday, April 2, 2014

[X]

One of the most immediate impressions one has of a Wendingen publication is of the format. It is ironically a very stout and conventional square shape, while not being a standard Din format. This is obviously a considered format, one which was chosen so as to fulfill a specific requirement. Similarly, once the publication is opened, the considerations of lay-outing the page as well as the type, is as immediate. The shortening of the printed area of the page reverts the visual shape of the page back to a more common rectangular format. The lay-outing of the type too is interesting as it plays along a similar functionality. With colour fields being constructed from smaller sets of shapes aligned together. This back and forth in format and form is something that may be interesting to play with on a digital platform such as a a basic webpage, where format differs from screen to screen, and browser to browser. Although this is fairly standardized, there is some variation. The lay-outing of individual elements in HTML then allows for a chance to reformat the page as desired by the user. While this is in no means a finished or particularly useful webpage, a more playful and relevant investigation into these issues is at least a potentially good starting point.

Orthogonal Allegory – the reality of architectural plan drawing


Friday, July 26, 2013

In this essay not only does the plan delineate (describes) the basic ‘syntax’ of a building, but it also creates a reality on its own; through allography the plan creates an allegory. This thesis won the 2013 Rietveld Thesis award

 

The floorplan takes a peculiar position in architectural creation. As a notational device, it translates the conception of a built space to a graphical code. The form of an orthogonal projection of a building abolishes the illusion of space, it excludes exactly the elements that are elementary to architectural expression, “light and shade, walls and space.” Le Corbusier, Towards a New Architecture.
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John Hejduk Still Life Museum / Museum for still lifes, could it be possible for the architect to take the natura morta of a painting and by a single transformation build it into a still life?

First and foremost architectural plans are a tool for instruction and documentation of a building process, but the graphic compression of a spatial idea creates a reality on its own. The plan equally takes part in other disciplines, painting, literature (think of Alain Robbe Grillets Jealousy), as it does in architecture.

chamberworks III-H
Daniel Libeskind, Drawing from the series Chamberworks, 1983, Chamberworks, carries in its title the notational character of the drawings, the form of their conception of space.

 

The planar form of representation is able to develop architectural problems independent from the construction process. It writes a text, different from that of the building, though in an indexical relation they contain each other. The factual information given by the plan creates a metaphor of the building through decisions made in its form of graphical notation, the format of drawing enables architecture to incorporate and appropriate parts of other disciplines, literature, philosophy, painting. The foundations of casual literacy are different from those of architectural, spatial literacy. In John Hejduk’s Architecs wheel the history of literature stands of the same level of elemental necessity, as that of construction materials, forms of depiction and building elements. Still, a plan is bound to an indexical relation towards reality, but it narrates a different story about the building it depicts, just as the story of the building differs from that of the plan. In its abstraction, the plan creates a Sinnbild (symbol), ideograph, allegory of the building.

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Man Ray, Dust breeding, 1920, Duchamps 'Large Glass' metaphorically turns it into a huge landscape, a pictorial setting.

 

The text formed from a logic of graphical signifiers, line, plane colour, typography, delineates what a building is about it a two-fold way: Syntactical, as the composition of spaces, and theoretical, as the Weltanschauung (philosophy of life), a complex synthesis of philosophical, religious, social beliefs. In that sense, the architects wheel is an archetypical plan, containing Hejduks complete vocabulary, a model for his architecture, for the narrative of basic shape, rather than a concrete building. Every plan evokes the world in which that building exists, the possibility of a space, just like every lie creates the world in which it is true. The plan formulates principles of grammar, methods of thinking and working, it integrates tectonic space and form and human experiences and conditions that comprise our existence and thus it is essentially philosophic.

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Dubai Masterplan, “It was the precision of my memory which enabled me to demystify the imaginary quality of the dream: surreal and real became interchangeable metaphors.” Raimund Abraham, the architects dream, 1983

text by Anton Stuckardt [graduate student department of Graphic Design]

 

from the jury rapport: In ‘Orthogonal Allegories, the reality of architectural plan drawing’ Anton Stuckardt has tackled the difficult subject of how the three-dimensional form is two-dimensionally represented. Still Anton manages to make the subject understandable in a very intelligent way and the thesis shows that he is a sharp thinker. The jury also found it to Anton’s advantage that he took his own interest in architecture, and connected this to the field of graphic design. Overall the thesis was compact, powerful and well written with good illustrations.

 

Pdf-icon Download this thesis:

Orthogonal Alegory – the reality of architectural plan drawing.

 


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