Found 340 Resources containing: Design diagram
Les Plans (The Designs), plate 100, in Elements d'Orfevrerie (Elements of Goldsmithing), Second Part
The meter has a 12 inch chart face which is driven by clockwork. Three pens record data as the chart revolves. The red pen indicates steam flow while the inner blue pen indicates airflow. When the two are close together the boiler is operating at its highest efficiency regardless of the rate of steam generation. The outer blue pen indicates resistance to the flow of combustion air through the fuel bed and can indicate problems with the depth of the fuel on the fire grate and other issues. If the boiler operator keeps that pen within the shaded area on the outer edge of the chart, conditions are satisfactory.
Bailey's design for the boiler meter consists of a complex system of bells suspended over a liquid. The steam and combustion air enter under these bells and cause them to rise and fall as the pressures change. An interconnected system of rods and levers operate the recording pens. His United Stated Patent Number 1,257,965 of March 5, 1918 for a "Relation-Indicator" provides a detailed description of the design. Diagrams showing the complete design of the patent can be found in the patent document online at the United States Patent and Trademark Office website, /www.uspto.gov.
Bailey formed the Bailey Meter Company in 1916. The company was quite successful, becoming Bailey Controls and then Elsag Bailey Process Automation until in 1998 it was merged into ABB.
Diagram of a painting by Gonzales Coques and others, "Interior with Figures in a Picture Gallery," 1672 (Mauritshuis)
"First issued in 1918 as blue-printed notes."--Preface to volume 1, page v.
Also available online.
NASMRB copy of volume 1 (39088002203966) has ink stamp: John J. Ide Collection, R 52 1964. With Ide's autograph on a printed receipt inserted at the front: Copy no. 6.
NASMRB copy of volume 2 (39088004400800) has ink stamps : (on back paste-down endpaper) Gift of Major E. E. Aldrin; (on receipt inserted at front of volume) E. E. Aldrin; copy no. 78; McCook Field Library, Airplane Engineering Department, McCook Field, Dayton, Ohio.
NASMRB copy has the original gilt-stamped black cloth bindings. Each volume has triple-punched holes through the left side of its text-block, and the leaves tied together with a black cloth string.
The device consists of a piston within a cylinder as shown on the right in the image. This cylinder is connected to a port in a cylinder of the engine under test, and the indicator's piston rises and falls as the pressure within the engine changes. A spring at the top of the cylinder provides a return force when the pressure in the engine decreases. A stylus is connected via a linkage to the moving piston so that it also rises and falls with pressure changes and records the pressure on a revolving drum with a paper card wrapped around it. This drum is seen to the left of the image. A cord is wrapped around the base of the drum and led via the pulley on the left to be attached to the engine under test so that it causes the drum to turn one revolution each stroke of the engine. A spring on the inside of the drum returns the recording paper to its starting point as the cord is relaxed. The result is a pressure-volume diagram of the engine while in operation, and engineers can measure and adjust the engine's properties under real time varying load conditions.
De Juhasz claimed his design improved over others due to his addition of cooling fins to the piston cylinder, reduction of mass of the piston and stylus, the use of light weight materials such as Bakelite, and a built in lubricator. He was an Assistant Professor of Engineering at Pennsylvania State College and Chief Engineer of a company manufacturing engine indicators.
The indicator is constructed of steel and Bakelite. Diagrams showing the complete design of the patent that it is based upon can be found in the patent document online at the United States Patent and Trademark Office website, /www.uspto.gov.
Model for the "Devil's Coffin" Diagram Relating to Computing the Volume of a Parallelepiped, Ross Solid
From the moment Massimo Vignelli started his career in Italy in the mid-1950s, he forged a rigorous philosophy that transformed the international language of design for print, products, and environments. Over the decades, debates about design’s cultural function bubbled and boiled around him. Confronting the upheavals of Pop, post-modernism, deconstruction, and the digital age, Massimo didn’t change his methodology so much as polish it into an ever sharper, more refined instrument. His ability to stay modern in a post-modern world sealed his reputation as one of the great designers of our time. As his career advanced, Massimo’s work and ideas became more relevant, not less. He remains a towering and untarnished design hero, not only to his peers and to the generation who started their own careers in his offices in the 1960s, 70s, and 80s, but to designers just entering the field now, who view the elegant man in the modernist menswear with almost mystical reverence.Drawings for Design Vignelli clothing line, 1990. (Massimo Vignelli)
Massimo Vignelli’s career is inseparable from that of his equally gifted wife, Lella Vignelli. The couple married in 1957 and opened their first firm together in Milan in 1960. While both were trained as architects, Lella continued to focus on three-dimensional design, while Massimo focused on graphics. Together, they could move across disciplines with astonishing grace. In 1964 the Vignellis left Italy for New York City, where Massimo co-founded Unimark International. Specializing in corporate identity—a field encompassing print, signage, interiors, and wayfinding—Unimark quickly expanded to become one of the world’s largest design firms. In its early years, Unimark required employees to wear white lab coats—an idea hatched by Massimo, who had a keen interest in enhancing the dignity of design professionals. In 1992, Massimo and Lella would launch their own functional clothing line (Design Vignelli), which offered a universal solution to the problem of men’s and women’s fashion, with its extra parts and ever-changing silhouettes. Although the Vignellis’ priest-like garbs didn’t find a broad market, they became part of the couples’ signature personal style.Poster, "Designer's Saturday, 1973", 1973 Offset lithograph on white wove paper. (Collection Cooper-Hewitt, National Design Museum. Gift of Lella and Massimo Vignelli. 2009-42-2.)
Massimo left Unimark in 1971 to co-found Vignelli Associates with Lella. The Vignellis’ work shaped New York City in profound ways. Massimo designed numerous posters, journals, and books for architects and architectural associations—indeed, a certain era of New York architecture speaks the language of Vignelli, using forthright Helvetica, upright Bodoni, warm, approachable Century Expanded, and gridded layouts articulated with horizontal bars.Massimo Vignelli, Poster, "A New Wave of Austrian Architecture", 1980 Offset color lithograph on paper. (Collection Cooper-Hewitt, National Design Museum, 1991-69-83.)
Massimo’s modernist innovations sometimes provoked controversy. His 1972 subway diagram for New York City took inspiration from the abstracted transit guides that had been used for decades in London and Tokyo. Emphasizing relationships among subway lines, Massimo’s diagram eliminates extrinsic information and distorts the city’s built geography in favor of revealing connections. Vignelli’s new urban order infuriated some outspoken New Yorkers, and the MTA replaced the iconic map with clunkier, more conventional graphics in 1979. The wayfinding system he created for the New York subway (with Bob Noorda at Unimark) remains in use today. The simple sans serif numbers and letters enclosed in colored circles helped unify New York’s once competing train lines into a single network. The signs are seen and used by millions of people, generating an unforgettable signifier of the New York experience.Massimo Vignelli, New York City Subway Map, 1972. (Metropolitan Transportation Authority)
Throughout his career, Massimo raged against typographic excess. In his view, a graphic designer should be able to solve nearly any communication problem with no more than five typefaces. (Later, he loosened his list to a dozen). The industrial revolution had unleashed an unholy cacaphony of fonts, made worse by the information overflow of the twentieth century. This typographic deluge yielded what Massimo called the “biggest visual pollution of all times” (Vignelli Canon). If everyone in the early 90s who called themselves a “desktop publisher” were a doctor, he complained, we would all be dead by now. (This might be true, if you think about it.) Massimo’s appearances in Gary Hustwit’s film Helvetica (2007) are among the movie’s most memorable moments. Chastising those who think that every thought or feeling warrants its own unique typeface, Massimo intoned that you don’t need letters that look or sound like a dog to represent the word “dog.” He liked to compare a great typeface to a musical instrument, which can be used to play any song in the hands of a skilled designer; Helvetica is “just like a piano, the more you play it, the more you learn how to play it and the better player you become."
Cooper-Hewitt bestowed the National Design Award for Lifetime Achievement on Massimo and Lella Vignelli in 2003. We are proud to include many works by the Vignellis in our permanent collections and library. In 2012, Rochester Institute of Technology (RIT) established the Vignelli Center for Design Studies, which houses an extensive archive of the couple’s work and holds public exhibitions and programs. Massimo always believed in the value of design history. He was a supporter of museums and their role in education and preservation. He was a great friend to this museum. We will miss him with all our hearts.
Ellen Lupton is a senior curator of contemporary design at the Cooper-Hewitt National Design Museum in New York City, as well as the director of the Maryland Institute College of Art's Graphic Design MFA Program in Baltimore.
PARTS, PERSPECTIVES, AND ME
A routine for exploring the complexity of objects and systems
Choose an object or system and ask:
1. What are its parts? (What are its various pieces or components?)
2. What perspectives can you look at it from? (Different users, makers or different physical perspectives)
3. How are you involved? (What connections do you have? What assumptions, interests, or personal circumstances shape the way you see it?)
Purpose: What kind of thinking does this routine encourage?
The routine helps students explore complexity by encouraging them to look closely at the details of something, considering its various viewpoints, users, and stakeholders, and reflecting on their own connections and involvement with it.
Application: When and where can it be used?
This routine can be used to explore virtually any object or system. It works particularly well with objects that have many parts–and can be taken apart—as well systems that have various roles and users connected to them (e.g., systems involved in managing or providing resources, social systems, organizational systems, transportation systems, or governance systems).
Launch: What are some tips for starting and using this routine?
The three elements of this routine can be introduced all at once, but each of the steps encourages a different kind of thinking, so it is helpful to distinguish the steps from one another and to give each step time to unfold. For the “parts” step, give students plenty of time to look at or otherwise experience the topic in detail. If the object is physically present, students can sketch it or make a diagram. If appropriate, they can take it apart (taking things apart—from doorknobs to old household appliances to toys—is a particularly powerful way to look closely at the parts of something). For the “perspectives” step, encourage students to imagine different physical viewpoints if appropriate (e.g., by zooming in, zooming out, or taking a bird’s-eye view). Encourage them to think broadly about how different people interact with or are connected to the object or system: who is involved in making it, who is affected by it, who cares about it? When possible, encourage students to gather information about other perspectives, for example by interviewing people or doing research. For the “How are you involved?’’ step, encourage students to consider the different ways the object or system touches their lives or the lives of people they know. Encourage them to consider any feelings, assumptions, connections, beliefs, attitudes, or associations they have with it. As with the other routines that begin with the naming of parts, students can make their thinking visible by creating lists, sketches, and diagrams.
The Sydney Opera House’s curving, nested design, evocative of eggshells, bird wings or sails, has earned it a spot as a UNESCO World Heritage Site. Since the vision of architect Jørn Utzon had a lot to do with the final work, it seems he would be toasted triumphantly at the opera house’s opening. But Utzon wasn’t invited and apparently never saw the finished project at all, reports Jamie Wiebe for Mental Floss.
Utzon’s story is that of promise crippled by inexperience — or, depending on how the story is told, a city’s failure to support genius. He was an unknown, but legend has it that the diagram of his design was found in the rejection pile by Eero Saarinen, a renowned architect and designer who judged the Sydney's international design competition in 1956, writes Thomas De Monchaux in Architect Magazine.
Utzon was likable, but had some habits that made working with him difficult, reports Elizabeth Farrelly for The Sydney Morning Herald. He took "long, idyllic holidays at crucial junctures," was reluctant to ask for help, didn’t have a plan for how to support the weight of his design before construction started and took on other projects while the opera house construction dragged on.
On the flip side, the project faced delays and hefty opposition. Wiebe writes that a long-time critic of the project, Robert Askin, ended up as Premier of New South Wales, the state that contains Sydney. His Minister for Public Works, Davis Hughes, "questioned every decision, schedule, and cost, and eventually stopped paying Utzon." Utzon left in 1966 (actually, he climbed over a back wall after submitting his resignation to avoid the press). The government owed him $100,000, and the project ended up 1457 percent over budget.
At the 1973 opening ceremony, Utzon’s name wasn’t even mentioned. He was banned from the Danish Architects Association, which insisted that the client is always right. He never returned to Australia.
Fortunately, things started to turn around at the end of Utzon’s life. He earned the Pritzker Architecture Prize for the design in 2003 and the opera house re-named the reception room the Utzon Room in 2004. Apparently, that’s how long it takes for a project's iconic importance to outshine resentment about its creator.
Smith's illustrated astronomy : designed for the use of the public or common schools in the United States ; illustrated with numerous original diagrams / by Asa Smith ..
Also available online.
Numerous clippings on astronomical subjects pasted inside front cover and on frontispiece.
Typed on Burndy bookplate: Gift of Robert Futterman.
This diagram is hand drawn by noted philatelic scholar Dr. Carroll Chase and donated by him in his volume of the
3c George Washington 1851 color and plate study.
The first six books of the elements of Euclid, in which coloured diagrams and symbols are used instead of letters for the greater ease of learners by Oliver Byrne, surveyor of her Majesty's settlements in the Falkland Islands and author of numberous mathematical works
Color title vignette illustrates Pythagora's Theorem
Presents Euclid's proofs using color pictures
Errata: page xxix
Text illustrated with geometric diagrams printed from woodblocks in red, blue, ochre, and black; four-line ornamental white woodcut initials on black criblé background, probably made for this edition by Mary Byfield, a Chiswick Press wood-engraver
Keynes, G. William Pickering, page 37, 65
McLean, R. Victorian book design and colour printing, page 53 (plate), 70
Printing and the mind of man (2nd edition), part 2, numbers 150
Also available online
Also available online.
SCDIRB copy (39088000863027) has bookplate: Burndy Library, gift of Bern Dibner
SCDIRB copy has pencilled inscription on 2nd front free endpaper: Frederick W. Roberton, on his fifteenth birthday, from his father, March 4, 1891
SCDIRB copy half bound in brown leathers, gilt rules on covers, title in gilt on spine, marbled endpapers
"Byrne ... considered that it might be easier to learn geometry if colors were substituted for the letters usually used to designate the angles and lines of geometric figures. Instead of referring to, say, 'angle ABC,' Byrne's text substituted a blue or yellow or red section equivalent to similarly colored sections in the theorem's main diagram."--Friedman
"Each proposition is set in Caslon italic, with a four line initial engraved on wood by Mary Byfield: the rest of the page is a unique riot of red, yellow and blue: on same pages letters and numbers only are printed in colour, sprinkled over the page like tiny wild flowers, demanding the most meticulous register: elsewhere, solid squares, triangles, and circles are printed in gaudy and theatrical colours, attaining a verve not seen again on book pages till the days of Dufy, Matisse and Derain."--McLean, Victorian book design and colour printing