First, note that although the listing below is believed to be the best bibliography on parquet deformation available, this is by no means exhaustive, although it is indeed decidedly thorough as is practically possible. The quality of the references varies tremendously. In truth, only a few are of any real substance and worth. The more important references, regarded as essential reading on the subject, are signified by the author’s name in bold. Most of the references I have found are somewhat obscure and of limited interest and value. In short, if a reference concerns parquet deformations, it is included, no matter what, of a considered piece of writing to a mere mention in passing. However, I have not been judgmental in what to include. Accompanying the bare bibliographic detail are some comments of my own. These vary in extent as to depth, largely at whim. On occasion, I add further detail about the author or journal, for the sake of general interest. In the fullness of time, I may add more detail in the round. Note that I do not have all of the books/articles listed in my possession, although all have been viewed to some extent. A useful reference was Google Books. This typically gives a snippet preview and on occasion a more extensive preview. Although not always ideal, this thus permitted an assessment of sorts as to intrinsic worth; many were judged simply not worth pursuing, with time constraints, and/or the cost involved in obtaining. Of the various outlets, citing from ‘Issuu’, an electronic publishing platform (detailed below) is in particular problematic; there appears to be no clear-cut way of doing so. Consistency of references is lacking. Authorship, or credit to the parquet deformation is not always clear. Sometimes people’s names are stated, sometimes a pseudonym is given, and others not at all. Titles, even when given, are most vague. None of the publications are downloadable, all have seemingly chosen not to permit this possibility. In all aspects, it’s all most trying. It's a pity really, in that there would appear to be some good ideas, but the format is not conducive to study. As such, I have assembled as best I can in the circumstances, at least of an initial attempt. Wikipedia: Issuu is an electronic publishing platform founded in 2006, enabling creators of publications to share their content digitally. Issuu converts PDFs into digital publications that can be shared via links or embedded into websites. Users can edit their publications by customizing the design, using templates, or adding links and multimedia to the pages of their documents. Issuu also provides tools for measuring and monetization of content. Most of the references spring from the related fields of architecture and design. Strict mathematical references, despite the obvious affinity with tessellation, are relatively rare. Curiously, references to parquet deformations are also to be found in a variety of unlikely places. For instance, they are discussed in the context of ‘terminal weighted array grammars’, and ‘terminals’, of which I remain ignorant of. The listing below is separated into two parts; (i) print, with books, articles and newspapers and (soon) (ii) web. Some people appear in both categories. The listing is to be considered as a work in progress, and so is subject to revision/addition. Are there other references of note? If so, do let me know. Anceschi, Giovanni. New Basic Design a Venezia e Basic Design a Ulm, ISIA Urbino, Self Published on Issuu January 19, 2011, 72 pp. Conference by Giovanni Anceschi, Reference teacher Nunzia Coco. Three untitled parquet deformations, by Fred Watts, Peter Hotz (Holtz in original) and Richard Lane, p. 58; David Oleson’s The I at the Center, p. 64. The piece also repeats illustrations from Huff’s two ‘An Argument for Basic Design’ articles. There is no discussion on parquet deformation, just illustrations. Of note is that Aneceshi is associated with 19 Rassegna (and I think I have seen his name elsewhere). He is on Facebook but his email is not readily found. Bio https://www.archeus.com/artists/anceschi-giovanni Giovanni Anceschi (b.1939) is an Italian artist who is considered by many to be the founding member of kinetic and programmed art in that country. Anceschi studied theoretical philosophy at Milan University and became a founding member of Gruppo T, as well as being a fundamental participant in the Nouvelle Tendance movement of the 1960s. Anon. ‘In Brief. Awards and Announcements’. B/a+p. News from the School of Architecture and Planning University at Buffalo, Spring 2014 Text, p. 4: Basic Design: An Exhibition of Works by Students of William S. Huff The works of students of William S. Huff, professor emeritus of architecture, were featured in “Basic Design,” a recent exhibition at the Ulm Museum in Ulm, Germany. An internationally noted scholar, Huff studied at the Ulm School of Design and Yale University and then taught at Carnegie-Mellon University before joining the faculty of the Buffalo School in 1974. Over the years, Huff has amassed a collection of material documenting design theory, from the Bauhaus to the HfG/Ulm to the latest methods in design education. Huff has gradually donated much of this material, including the results of many Buffalo School student design assignments, to the HfG/Ulm Archive. “Basic Design” features 40 graphic works and 20 study models from this collection, highlighting Huff’s experimentation with symmetry (programmed design), black & white and color rasters (grid manipulation), congruent sectioning of space, effecting color in pigments as color in light, and the deformation of parquet patterns. Huff’s fundamental doctrine has impacted basic design teaching around the world. Nicholas Bruscia is also mentioned, but not in the context of parquet deformation. Akira, Ito*, S. P. Patrick, P. Wang, and K. G. Subramanian. Array Grammars, Patterns and Recognizers. World Scientific Publishing, 1989, p. 69. Alpert, Richard. ‘Tracks of Motion in an Enclosed Space: Connections between Performance and Visual Imagery’. Leonardo, 1984, Vol. 17, No. 3 (1984), pp. 167–171. Anon. No Title. The Buffalo News Sunday, 23 June 1985. Page number/s not known American Drawings and Watercolors in the Collection of the Museum of Art, Carnegie Institute. Publisher: Carnegie Museum Store; 1st edition, 1985, P. 276. Annual Report of the Director Issues 83-84, Carnegie Institute 1980, p. 51. Artist’s Page. Mutahir Arif. Crossing Disciplines – Scope: (Art & Design), 9, 2014 ‘BAD’ (Built by Associative Data). By ‘MUQ’?, ‘Computation Coding/Recoding Islamic Patterns’. Self Published on Issuu March 13, 2015, 102 pp. See p. 91. Three Islamic-style parquet deformations, of the more ‘intricate’ type. Quite who the designer is for this is unclear - ‘Muq’? https://issuu.com/akabbara/docs/bad_profile_selected_projects Bellos, Alex. ‘Crazy paving: the twisted world of parquet deformations’. The Guardian, 9 September 2014 Bellos, Alex and Edmund Harriss. Snowflake Seashell Star. Canongate Books Ltd, 2015 Bigalke, Hans-Günther. Reguläre Parkettierungen. Mit Anwendungen in Kristallographie, Industrie, Baugewerbe, Design und Kunst. BI Science Publisher, 1994 Translated: Regular tilings: With applications in Crystallography, industry, construction, design and art. P. 232 illustration and Huff mention. A ‘Square to double basketweave to Cairo deform’, with an Alhambra transition not seen before (in ‘Square to double basketweave’ section), with the designer not credited. Seems to be only a single page study. NOT SEEN, GOOGLE BOOKS REFERENCE Snippet view on Google Books: 2Ähnliche "parquet deformations" sind z . B . von S . HUFF , Department of Architecture , Carnegie Institute of Technology , Pittsburgh / Pennsylvania , oder von M . C . ESCHER , Z . B . in seinen " Metamorphosen " von 1939 und 1967 … Wikipedia: Hans-Günther Bigalke (born February 23, 1933 in Celle ; † April 19, 2019 there ) was a German mathematician and university professor. He was one of the pioneers of didactics of mathematics in Germany and co-founder of the Society for Didactics of Mathematics. Bonner, Jay, with contributions by Craig Kaplan. Islamic Geometric Patterns: Their Historical Development and Traditional Methods of Construction. Springer, 2017 Kapan’s (extensive) contribution to the book is Chapter 4, ‘Computer Algorithms for Star Pattern Construction’, pp. 549–-572, and of parquet deformation relevance Chapter 4.6 ‘Extensions’, with Chapter 4.6.1 ‘Parquet Deformations’, pp. 569–570. Chapter 4.6.1 is a small subchapter over two pages in the context of Islamic tilings. This reuses the top two illustrations in his article ‘Islamic Star Patterns from Polygons in Contact‘. The contact angle used to construct motifs can be varied smoothly, producing a continuum of possible designs (though for some template tilings, certain angles are more canonical than others). There is no reason why the contact angle cannot also be varied spatially within a single design, producing a pattern that undergoes a slow, graceful metamorphosis (Kaplan, 2005). I have experimented with these “spatial animations.” I generate a long, narrow strip of the template tiling. Then, for each edge midpoint, I choose a contact angle for its rays based on the position of the midpoint as a fraction of the way from the start to the end of the strip. The contact angle might be different for every edge midpoint in a given tile, but the motif generation algorithm can still operate as before. Two examples of this process are shown in Fig. 536. Note that these designs are able to transition gradually between acute, median, and obtuse pattern families. [Two images] Fig. 536 Two examples of parquet deformations. The top diagram shows isolated motifs constructed with continuously varying contact angles, which are then elaborated into a complete design in the middle The bottom drawing is a parquet deformation based on the tiling of Fig. 503, with colors added manually in Adobe Illustrator I name such designs “Islamic Parquet Deformations,” after the design style pioneered by Huff and described by Hofstadter (1986). They are also inspired by, and share aesthetic qualities with, Escher’s use of metamorphosis (Kaplan, 2008). Also Front Matter work, designs with diminishing scale, parquet deformations as per the work of Craig Kaplan…
Bosch, Robert and Andrew Pike. Map-Colored Mosaics. Proceedings of the 2009 Bridges Banff Conference, held in Banff, Canada. Edited by Craig S. Kaplan and Reza Sarhangi, pp. 139–146 P. 142: Once we have created a map-colored mosaic that pleases us, we can modify it by replacing its square tiles with other tiles that behave like squares. By doing this, we obtain images that are reminiscent of Escher-like tessellations [6,10] or Huff-like parquet deformations [7,9] when viewed from up close, yet still look like familiar images when viewed from a distance. See Figures 5 and 6. http://archive.bridgesmathart.org/2009/bridges2009-139.pdf Andrew Pike (LinkedIn) Experienced Researcher with a demonstrated history of working in the e-learning industry. Skilled in Cell Culture, Science, Western Blotting, Laboratory Skills, and Protein Expression. Strong human resources professional with a PhD focused in Molecular Microbiology and Immunology from Johns Hopkins Bloomberg School of Public Health. Brandstetter, Gabriele and Marta Ulvaeus. ‘Defigurative Choreography: From Marcel Duchamp to William Forsythe’. The Drama Review, Winter, 1998, Vol. 42, No. 4 (Winter, 1998), The MIT Press, pp. 37–55. Inconsequential. Brief mention (not illustrated) of parquet deformations (in Hofstadter's Metamagical Themas) on pp. 48–49 in the context on dance. Pp. 48–49. In terms of the relation of figure and space, the patterns of such choreography reveal a similarity with the designs that are known as "parquet deformations" (Hofstadter 1985:195-218): gradually developing transformations of divisions of the plane, or tessellations, which, through the lengthening or rotating of a line or through the introduction of a hinge, result in a complete distortion or regrouping-like a type of ornamental morphing. MIT TDR traces the broad spectrum of performances, studying performances in their aesthetic, social, economic, and political contexts. With an emphasis on experimental, avant-garde, intercultural, and interdisciplinary performance, TDR covers performance art, theatre, dance, music, visual art, popular entertainments, media, sports, rituals, and the performance in and of politics and everyday life. Comptes Rendus - Interface Graphique. National Research Council of Canada, 2005 NOT SEEN, GOOGLE BOOKS REFERENCE Snippet view on Google Books: P. 177. We show how this method can be adapted to construct Islamic designs reminiscent of Huff's parquet deformations. Finally, we introduce a geometric transformation on tilings that expands the range of patterns accessible using our method. Bibliographic detail is scanty here. Although not stated, the text is taken from Kaplan’s ‘Islamic star patterns from polygons in contact’. I have not been able to find out more on this Canadian journal. Crowell, Robert A. (editor). Intersight One. State University of New York at Buffalo 1990. Dawson, Robert J. MacG (probably). ‘Crooked Wallpaper’. Journal of Graphics Tools. Volumes 8–9, A. K. Peters, 2003, pp. 33–46 Day, Lewis, F. Pattern Design: a book for students, treating in a practical way of the anatomy, planning and evolution of repeated ornament. London. First published 1903, Batsford 2nd Edition Hardcover, 1933 Amor Fenn (revised by), B. T. Batsford 1979. de Villiers, Michael (Facebook). Whirly-gig, 24 September 2013 posting (image 2003) Here's another geometry doodle I did using the idea of a 'parquet deformation' of a basic rectangular tiling. Read more and experience a dynamic version of this parquet deformation at: http://frink.machighway.com/~dynamicm/whirly-gig.html I find the transitions here a little too abrupt (especially of the orange and red tiles). A rare instance of a colour, in a rainbow style, but without map colouring rules. Ideally, this would have been observed. https://www.facebook.com/photo?fbid=590300384361715&set=a.168399629885128 Documentation Abstracts. American Chemical Society. Division of Chemical Literature. American Documentation Institute. Volume 20, Issues 7–12, 1985, p. 818 Durant, Stuart. Ornament: A Survey of Decoration Since 1830, 1986, p. 81 Durant, Stuart. Ornament, from the Industrial Revolution to Today. Woodstock, N. Y. : Overlook Press 1986, p. 81 Ellison, Elaine K. and John Sharp. ‘Tiled Torus Quilt with changing tiles’. [Sic] Bridges Pécs: Mathematics, Music, Art, Architecture, Culture. Conference Proceedings, 2010, Tessellations Publishing, pp. 67–74 http://archive.bridgesmathart.org/2010/bridges2010-67.pdf Fathauer, Robert. Tessellations: Mathematics, Art, and Recreation. A K Peters/CRC Press, 2020 Chapter 19, Tessellation Metamorphoses and Dissections pp. 301–307. Parquet deformation amid a chapter on tiling metamorphosis in general, including Escher-like art. ‘Morphs’ is his preferred title. Regarding parquet deformation, includes a discussion on Metamorphosis II. Also shows an Islamic-type isometric instance of his own. Has a brief discussion of Huff’s work, p. 302: … Linear geometric morphs were explored by Williams S. Huff in the 1960s. He called them “parquet deformations” and had his architecture students design them [Hofstadter1986]. Craig Kaplan has developed schemes to allow parquet deformations to be generated by computer [Kaplan 2010]. Greenberg, Bob. Handbook of Practical Geometry. CDM Business Services, 1982, p. 177 Grünbaum, Branko and G. C. Shephard. Tilings and Patterns. W. H. Freeman, 1987 Hann, Michael. Structure and Form in Design: Critical Ideas for Creative Practice. Bloomsbury Academic, 2012 NOT SEEN, GOOGLE BOOKS REFERENCE Three references, p. xviii, p. 104, 179 (index) P. 104 Craig Kaplan ‘fractal’. ————. The Grammar of Pattern. CRC Press, 2019, 229 pp. NOT SEEN, GOOGLE BOOKS REFERENCE Three minor references. Page number is odd on Google Books, with page 4–17, 6–163, 6–164 (index)! Quotes Kappraff. Seems inconsequential. ...and one-dimensional parquet deformation (Kappraff, 1991, p. 184). Book The Grammar of Pattern describes characteristics of textile and other surface patterns, and identifies, illustrates, and reviews a wide range of pattern types including spotted, striped, checked, tessellating and other types of all-over patterns with original drawings and images. Biography Professor Michael Hann (BA, MPhil, PhD, FRSA, FRAS, FTI) holds the Chair of Design Theory at the University of Leeds. He is also Director of ULITA – an Archive of International Textiles, an important international archive (and, in the context of this book, a source of illustrative material). He has published across a wide range of subject areas, has made numerous keynote addresses at international conferences, and is an acknowledged international authority on the geometry of design. Recent book publications include: Hann, M (2012). Structure and Form in Design (London: Berg); Hann, M. (2013), Symbol, Pattern and Symmetry (London: Bloomsbury) and Hann, M. (2015), Stripes, Grids and Checks (London: Bloomsbury). He has held adjunct, visiting or invited professorships at institutions in Belgium, Taiwan, Hong Kong, Korea and the Peoples’ Republic of China. Herbst, Michel. ‘Art Concret, Basic Design and meta-design’. TUGboat, Volume 38 (2017), No. 3, pp. 324–328. Minor discussions on parquet deformations among other matters in the article. Likely uses my deformation, retitled ‘Transformation’, fig. 9, p. 328 without credit. Quotes Hofstadter’s book Metamagical Themas: Questing for the Essence of Mind and Pattern. Oddly, he seems to credit Transformation to Hofstadter! 14 mentions of Huff, but without parquet deformation! Herbst prefers the term ‘transformation’. Much talk of Huff and Ulm in the round, including the years of Huff at Ulm (1962–66), Carnegie-Mellon (1960–1972), and Buffalo (1974–98). TUGboat describes themselves as: The TeX Users Group (TUG) is a membership-based not-for-profit organization founded in 1980, for those who are interested in typography and font design, and/or are users of the TeX typesetting system created by Donald Knuth. https://www.tug.org/TUGboat/tb38-3/tb120herbst.pdf Herrero, R, S. Askins, M. Victoria, C. Domínguez, I. Antón. ‘Thermal Effects and Other Interesting Issues with CPV Lenses’. PV module Reliability Workshop-CPV March 1st GOOGLE SCHOLAR REFERENCE Lower effect than lens parquet deformation Inconsequential. A single mention, of uncertain connection with Huff-style parquet deformations. Arguably could be omitted. http://oa.upm.es/20856/1/INVE_MEM_2012_131852.pdf Hoeydonck, Werner Van. ‘William Huff’s Parquet Deformations: A Viennese Experiment’. Conference: Symmetry: Art and Science, 2019 – 11th Congress and Exhibition of SIS Special Theme: Tradition and Innovation in Symmetry – Katachi 形 Kanazawa, Japan, November 25-30, 2019, pp. 286–289. Abstract My presentation in Kanazawa aims to bring a renewed interest and a new nexus of activities around William Huff’s work, especially as an exercise in transformational thinking in the field of architectural education. After his retirement, professor Huff donated a beautiful collection of his students’ work to the HfG-Archiv in Ulm, Germany, which inspired us at the Institute of Art and Design in Vienna to conduct a semester assignment for 450 students around the topic of Parquet Deformations (P.D.). The open search for strategies to transfer the spatiotemporal idea of a planar P.D. into 3D led to fascinating results. Hereby we discovered a field of formal research that opened the students’ eyes for two and three-dimensional relationships and made them enthusiastic and sensitive for spatial transformations. This is a brief report on how we conducted the exercise, as a fruitful exercise for the basic design education of young architects and designers. Includes a recreation of ‘Leather of the Lesser Gator’, by Thomas C. Davies, 1964. Also includes a modern-day work by Kim Ye-ryum, 2017, but no others. It is not a tutorial as such. My website gets a mention. https://www.academia.edu/42758497/WILLIAM_HUFFS_PARQUET_DEFORMATIONS_A_VIENNESE_EXPERIMENT ————. ‘William Huff’s Parquet Deformations: Two Viennese Experiments’. Bridges 2020 Conference Proceedings, pp. 383–386. Abstract This paper aims to bring a new nexus of activities around architect and educator William Huff’s work, presented here as an experimental design assignment in architectural education. After his retirement, professor Huff donated a collection of his students’ work to the HfG Archive in Ulm, Germany, which inspired us, at the Institute of Art and Design in Vienna to give a semester assignment focusing on parquet deformations (PD). The open search for strategies to transfer the idea of planar PDs into 3D led to fascinating results. We discovered a field of formal research that broadened the students’ horizons concerning 2 and 3-dimensional relationships enthusing them considerably by making them aware of the unlimited possibilities of spatial transformation. This is a brief report of a fruitful project in basic design education for architects and designers. Includes a work by Tobias Dirsch, 2017 and an anonymous designer but no others. Mostly the concern is 3D. My website gets a mention. https://archive.bridgesmathart.org/2020/bridges2020-383.pdf Hofstadter, Douglas. 'Parquet Deformations: Patterns of Tiles That Shift Gradually in One Dimension'. ‘Metamagical Themas’, Scientific American 1983, pp. 14–20 ————. ‘Parquet Deformations: A Subtle, Intricate Art Form’. July, 1983 pp. 190–199. In Metamagical Themas: Questing for the Essence of Mind and Pattern. Basic Books; First printing 1985, New edition 1996 ————. Fluid Concepts and Creative Analogies. Computer Models of the Fundamental Mechanisms of Thought. Harvester Wheatsheaf 1995, and Allen Lane The Penguin Press 1997, 501 pp. P. 477. For me, what Lenat and Chamberlain did for their programs is strongly reminiscent of the role that is played by William Huff, an architecture professor, with respect to students in his design courses. Huff has a long-standing tradition of assigning his design students the challenge of creating "parquet deformations" - tilings of the plane that gradually metamorphose in an Escher-like manner as they move across the plane (many examples are given and discussed in Chapter 10 of Hofstadter, 1985). To get the idea across to the students in each successive class, Huff shows a portfolio consisting of what he considers to be the best examples from previous years. Thereby inspired, the current crop of students then produces a large set of new parquet deformations, most of which are not great, but usually at least a few of which are novel and exciting. As one would expect, Huff applies his own keen artistic judgment to the latest harvest, pruning the weak ones out and adding his favorites to the growing portfolio to be shown to subsequent classes. In this way, a process of evolution takes place, with Huff playing the role of natural selection, letting artistically weak specimens die and strong ones survive, and then propagating the "most fit genes" by exhibiting the survivors to his class the next year. Over a period of some twenty or more years, Huff has managed to direct the course of evolution of parquet deformations in a very interesting way. The question naturally arises as to the authorship of all these pieces. Huff has a practice of labeling each piece, when they are exhibited in a museum or gallery, "from the studio of William Huff", with no further information. However, when I decided to publish a small selection of these beautiful studies, I felt that Huff's labeling practice was too one-sided, and so for each piece I listed both Huff's name and the student's name. I felt this was fairer. But I certainly could see two sides of this question. There was no doubt in my mind that Huff deserved a large portion of the credit. Whether it was less or more than 50 percent remains an unresolved but fascinating question in my mind. Wikipedia https://s3.amazonaws.com/arena-attachments/669097/a6e33859f5f6677f20615f14fdbf52fa.pdf
————. I Am a Strange Loop. Basic Books, 2007 Hardback, 2008 Paperback, 412 pp. David Oleson I at the Center parquet deformation discussion in Chapter 1, ‘How We Live in Each Other’, pp. 241–258. The premise of the book, detailed below, thus makes David Oleson's work here an obvious choice for inclusion. Note that Hofstadter here is making a point in his writing, and is not a discussion as to the parquet deformation in general, as with his Scientific American 1983 piece. Page 252. All of this suggests that each of us is a bundle of fragments of other people’s souls, simply put together in a new way. But of course not all contributors are represented equally. Those whom we love and who love us are the most strongly represented inside us, and our “I” is formed by a complex collusion of all their influences echoing down the many years. A marvelous pen-and-ink “parquet deformation” drawn in 1964 by David Oleson (below) illustrates this idea not only graphically but also via a pun, for it is entitled “I at the Center”: [Image] Here one sees a metaphorical individual at the center, whose shape (the letter “I”) is a consequence of the shapes of all its neighbors. Their shapes, likewise, are consequences of the shapes of their neighbors, and so on. As one drifts out toward the periphery of the design, the shapes gradually become more and more different from each other. What a wonderful visual metaphor for how we are all determined by the people to whom we are close, especially those to whom we are closest! Wikipedia I Am a Strange Loop is a 2007 book by Douglas Hofstadter, examining in depth the concept of a strange loop to explain the sense of "I". The concept of a strange loop was originally developed in his 1979 book Gödel, Escher, Bach... In the end, we are self-perceiving, self-inventing, locked-in mirages that are little miracles of self-reference. — Douglas Hofstadter, I Am a Strange Loop p. 363 http://digitalphysics.ru/pdf/Kaminskii_A_V/I_Am_a_Strange_Loop--Douglas_Hofstadter.pdf Huff, William S. ‘An Argument for Basic Design’. ulm 12/13. Journal of the Ulm School for Design, 1965, pp. 25–38. In a general article on basic design (of both German and English), parquet deformations for the first time appear in print, albeit essentially as illustrations only, with brief caption text, of both German and English). Oddly, there is no discussion in the main body of the text. This is not an outlier; such a presentation with other topics is throughout the article. Picture of Huff, p. 25. Three parquet deformations are shown, credited, by Fred Watts, Peter Hotz, and Richard Lane, p. 28, dated, but all untitled. That by Hotz is significant, being the first parquet deformation, although not stated or discussed as such here. Interestingly, Hotz uses a Cairo tiling here, and of a transition from a square to basketweave, in a way (I believe) that I have not seen previously! Interestingly, D'Arcy Thompson is mentioned extensively in the article, re On Growth and Form, which has potential significance as to the inspiration of the concept. Previously, I thought that Huff may have been influenced by the image of the book in p. ? Fig. 133, first edition 1917, but this now seems unlikely, given his credit to Hotz elsewhere, in many places, directly and indirectly, as the innovator of the concept. Note that somewhat confusingly, Huff also wrote another article under the same title, in urban structure, of 1968, with effectively reuse of the text of the entire article here, indeed almost word for word, with only minor occasional changes, and he also reused some of the diagrams, albeit to a lesser degree. In short, urban continues his ideas. ————. ‘An Argument for Basic Design’. In Urban Structure by David Lewis (ed). Architects' Year Book: Urban Structure, Elek Books, 1968, pp. 269–278. In short, the text here is largely a rehash of his earlier (1965) article of the same title. Indeed, he reuses the text (and bibliography) up to and including p. 274 almost word for word, with only minor occasional changes, with the new text beginning ‘Descriptions of four major projects’. Again, oddly, there is no discussion on parquet deformation in the text. Two new parquet deformations are shown, albeit without a title, year, or designer. These are simply captioned: Top Parquet deformation A development on a square grid And Centre Parquet deformation A development on the special rhombic grid Interestingly, Top uses a Cairo tiling. Of note is the historical significance here, the second appearance in print of parquet deformations, of text and images (the first instance, by Huff, was of 1965). ————. ‘Symmetry’. Oppositions. Issue 3, p. 23, 1974. Published for The Institute for Architecture and Urban Studies by The MIT Press NOT SEEN, GOOGLE BOOKS REFERENCE Snippet view on Google Books: Parquet deformation by Richard Lane. Basic Design course, 1963. Teacher: William S. Huff. departure from the Bauhaus tradition found clear expression in three sets of academic courses that were common to all four departments. First, in the … Wikipedia Oppositions was an architectural journal produced by the Institute for Architecture and Urban Studies from 1973 to 1984. Many of its articles contributed to advancing architectural theory and many of its contributors became distinguished practitioners in the field of architecture. Twenty-six issues were produced during its eleven years of existence. ————. “Best Problems” from Basic Design - - 20 Feb. 1979. REVISED 20 Feb. 1979. THE PARQUET DEFORMATION (text and capitalization as given) N.B. Appears in Tim McGinty’s Best Beginning Design Projects (q.v) ————. ‘The Landscape Handscroll and the Parquet Deformation’, In Katachi U Symmetry. Tohru Ogawa, Koryo Miura, and Takashi Masunari. Tokyo: Springer-Verlag, 1996, pp. 307–314. 1 The Aesthetics of the Parquet Deformation: Canons and their Afterimage 1.1 Do East and West Share the Same Sense of Drama? 1.2 Spatial versus Temporal Art Forms 1.3 Temporal Visual Art, Experienced through Channeled "Serial Images" 1.4 How Are Handscrolls and Parquet Deformations Composed? 2 The Mathematics of the Parquet Deformation: Constraints of Symmetry and Topology 2.1 Parquet Patterns, a Recent Diversion in Geometry 2.2 Designing Novel Parquet Patterns and Deforming One into Another 2.3 Influence of D'Arcy Thompson; Comparisons with M. C. Escher The article has seven parquet deformations from Huff’s studio, with works by, in sequential order, Liou Jiunn-liang (Romeo and Juliet, 1993), Fred Watts (Fylfot Flipflop, 1963), Pamela McCracken (Cloisonné, 1990), Loretta Fontaine (Seven of One Make Three, 1991), Vincent Marlowe (Clearing the Thicket, 1979), Alexandria Gelencser (Swizzle Stick Twirl, 1986), Bryce Bixby (They Come, They Go, 1991). All are from Buffalo, save for the Watts (Carnegie-Mellon) instance. However, perhaps a little oddly, there is no discussion (or even a reference) of these in the text. Likely, these serve for generic illustrative purposes. Of note, in detail: 2.1 Parquet Patterns, a Recent Diversion in Geometry Essentially, the background to tiling, titled ‘parquet’ by Huff. Mentions of Thomás Maldonado (HfG), Martin Gardner (Scientific American column), and Branko Grünbaum (definition of monohedral tiling). Mentions ‘improper’ parquets. 2.2 Designing Novel Parquet Patterns and Deforming One into Another The title here suggests a tutorial, but this is not so. Rather, it discusses matters of Bravais lattices and rotational symmetry. Chapter 2.3 Influence of D’Arcy Thompson; Comparisons with M. C. Escher. Of note here in the first line is: The intriguing possibility of the incremental deformability of one parquet pattern into another came to our attention in 1960 when it was recognized in one student's designs of several very different looking patterns that there were underlying, but far from obvious morphological relationships between them. The ‘unnamed student’ is Peter Hotz, derived from Huff’s notes for a SEMA talk (2003). Mentions D’Arcy Thompson’s, On Growth and Form and his chapter ‘On the Theory of Transformations’, and Escher's comparable work. Also detailed is, in so many words, ‘permissible’ and ‘non-permissible’ parquets (not illustrated), the intricacies of which (without visual aid) I am at a loss to understand. Much here is taken from Hofstadter's 1983 article. ————. "About Parquet Deformations" in transforma, Book of Abstracts of the 2° Congreso Internacional y 4° Nacional de la Sociedad de Estudios Morfólogicos de la Argentina (SEMA), 9. Córdoba, Argentina, 2003, p. 9. The reference to this little-quoted article was in Patricia Muñoz’s Spatial Lines. From SEMA website: ————. ‘Simulacra of Nonorientable Surfaces—Experienced through Timing’. In Spatial Lines, (Líneas espaciales) Patricia Muñoz, compiler. Buenos Aires: De la Forma, 2010, 128 pp., 42–49. I also have Huff’s chapter from the book (kindly supplied by Claudio Guerri), in Spanish, with illustrations, but no parquet deformations are shown. Interestingly, in the references, p. 49, he mentions the SEMA 2003 conference, relating to the text, which is where this obscure text first came to my attention. See Chapter 4. One paragraph of reference to parquet deformations amid a Möbius Band premise: Jablokov, Alexander. ‘Living Will’. Isaac Asimov's Science Fiction Magazine, Davis Publications, Dozois, Gardner (ed). June 1991, Vol. 15, Issues 7–9, p. 64. Joseph, M. and R. Shyamasundar. Foundations of Software Technology and Theoretical Computer Science: Fourth Conference, Bangalore, India December 13–15, 1984. Kaplan, Craig S. and David H. Salesin. ‘Escherization’. SIGGRAPH '00: Proceedings of the 27th annual conference on Computer graphics and interactive techniques, July 2000 pp. 499–510 Kaplan, Craig S. Computer Graphics and Geometric Ornamental Design. A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2002 P. 58 P. 190 P. 191 P. 193 ————. ‘Islamic Star Patterns from Polygons in Contact’. Proceedings of Graphics Interface 2005, pp. 177–185 Islamic designs reminiscent of Huff's parquet deformations. ... in the style of Huff's parquet deformations [16, Chap- ... book also appear in a recent paper [4]. ————. ‘Metamorphosis in Escher’s Art’. In Bridges 2008: Mathematical Connections in Art, Music and Science, pp. 39–46. ————. ‘Curve Evolution Schemes’. In Bridges 2010 Mathematical Connections in Art, Music and Science, pp. 95–102. ————. Introductory Tiling Theory for Computer Graphics. Morgan and Claypool Publishers, 2009 A brief reference in passing. P. 53. 13. Write a program to create parquet deformations: patches of tiles that slowly evolve…Parquet deformations were devised by Huff… My Bridges 2008 paper discusses methods for drawing parquet deformations based on isohedral tilings. Brief mention of Huff and parquet deformation. ————. ‘Animated Isohedral Tilings’. Bridges 2019 Conference Proceedings, pp. 99–106 A brief discussion. There are other implied parquet deformations in the context of the animations. Kalay, Yehuda E (ed.). Computability of Design (Principles of Computer-Aided Design), John Wiley & Sons, 1987 NOT SEEN, GOOGLE BOOKS REFERENCE Implies parquet deformation. Kappraff, Jay. Connections. The Geometric Bridge Between Art and Science. McGraw-Hill Inc. 1991 Kheybari, Abolfazl Ganji, Dr. Hamed Mazaherian; Mohammad Amin Farahbakhsh; Setare Bitaraf. ‘Parametric Development of Star-shaped Motifs in Islamic Geometry’. Privately published as a Word Doc? Inconsequential. Craig Kaplan-inspired studies, essentially repeating his 2000 work, even using his diagrams! P. 6. Islamic parquet deformations are a style of ornamental design and a geometric drawing that makes a smooth transition in space. In a strip of the template tiling the contact angle at every contact point is determined by the location of that point in the strip. Varying the contact angle results a gently changing geometric design. Figure (7) - The construction of an Islamic parquet deformation based on Hankin’s method. [9-P58] Quotes Kaplan in the references: [12]. Craig S. Kaplan, Computer Generated Islamic Star Patterns, 2000 Kim, Scott. Inversions. W. H. Freeman and Company, New York, 1989. Originally published Peterborough, N. H.: Byte Books, 1981 (the latter not seen) Kitchen, Paul. Portfolio. Student Architectural Portfolio. Self Published on Issuu March 5, 2018, 23 pp. See pp. 8–9, 18–19 Goes from 1-dimension to 2-dimensions and then (ostensibly) to 3-dimensions. N. B. I looked for Paul Kitchen, parquet deformations separately, but without success. https://issuu.com/pkitchen/docs/issuu_upload KPMG Peat Marwick Collection of American Craft: A Gift to the Renwick Gallery of the National Museum of American Art. Published by Smithsonian Institute. 1994. Foreword, Jon C. Madonna; introduction, Michael W. Monroe; essays, Jeremy Adamson Kreutzer, Wolfgang and Bruce McKenzie. Programming for Artificial Intelligence: Methods, Tools, and Applications. Addison-Wesley, 1991 Krithivasan, Kamala and Anindya Das. ‘Terminal weighted grammars and picture description’. Computer Vision, Graphics, and Image Processing, Volume 30, Issue 1, April 1985, pp. 13-31. Lamm, Dan. Material Systems, MIT Media Lab, 2015. Self Published on Issuu October 31, 2015, 169 pp. See pp. 80-81. Prepared for admission into the Mediated Matter research group in the Media Lab at MIT. The first part of this project was to select and analyze a hand-drawn parquet deformation with no computational ... N.B. I Looked for ‘Dan Lamm parquet deformations’ separately, but without success.
Laparidis, Stavros. ‘The Role of Allusion in Ligeti's Piano Music’. Dissertation, 2012, p. 22. 19 Example 5. Étude 9: Vertige, opening seemingly static but constantly changing type of music as “parquet deformation,” a very insightful term to describe this compositional design… GOOGLE SCHOLAR REFERENCE, OSTENSIBLY ON PROQUEST. REQUESTED ON RESEARCHGATE Only a part-preview is available on ProQuest, of which just the first 13 pages are viewable. Although likely of a mention in passing, of interest due to one of the few music links.
Lee, Kevin. ‘Algorithms for Morphing Escher-Like Tessellations’. Proceedings of Bridges 2015: Mathematics, Music, Art, Architecture, Culture pp. 483–48
Leone, Francesca. Portfolio Progettazione Grafica. Self Published on Issuu July 14, 2019, 68 pp. In Italian. Ostensibly on parquet deformation, but in reality not. Gives Escher’s Day and Night. Mentions Huff, p. 14. https://issuu.com/frleone97/docs/portoflio
Leopold, Cornelie. ‘Structures and Geometry in Design Processes’. Journal title is not given A brief mention of (implied?) parquet deformation P. 7: The students at Ulm of Design worked on tessellations and patterns and developed one pattern in another, called net transformations or metamorphosis. Figure 12: Net transformations by student by Arno Caprez at Ulm of Design 1965/66, teacher William S. Huff (17) The work is untitled. Some of those methods are presented in this paper which had been one of the background for the DAAD Summer School;Structure – sculpture in Buenos Aires, where students worked on the design task analyzing and redesigning the Ulm Pavilion by Max Bill.
Lindinger, Herbert. Ulm Design. The Morality of Objects, MIT Press, 1991. I am given to understanding that parquet deformation is featured here, but have lost the reference! https://mitpress.mit.edu/contributors/herbert-lindinger
Llonardi, Giulia. Portfolio. Self Published on Issuu May 19, 2017, 16 pp. See p. 13 (no text) N. B. I Looked for ‘Giulia Llonardi, parquet deformations’ separately, but without success. https://issuu.com/giuliaiallonardi/docs/portfoliopdf Maldonado, Tomás. Il futuro della modernità. Feltrinelli, 1987, p. 52 Mathematical Reviews. American Mathematical Society, Vol. 87, 1987 Miles, Thomas H. Critical Thinking and Writing for Science and Technology. Heinle & Heinle Publishers Inc., U.S. 1989, 1990 p. 232. Moradzadeh, Sam and Ahad Nejad Ebrahimi. ‘Islamic Geometric Patterns in Higher Dimensions’. Nexus Network Journal Vol. 22, 11 May 2020, pp. 777–798 NOT SEEN; REQUESTED ON RESEARCHGATE Springer snippet: William Huff, an American architecture professor, used the term “parquet deformation” in the 1960s and later Douglas Hofstadter developed this… Neves, Isabel Clara et al. ‘The Legacy of the Hochschule für Gestaltung of Ulm for Computational Design Research in Architecture’, 2013. Open Systems: Proceedings of the 18th International Conference on Computer-Aided Architectural Design Research in Asia (CAADRIA 2013), 293–302 From a reference by Tuğrul Yazar in his ‘Revisiting Parquet Deformations…‘, 2017 paper. Skim read. Only of background interest in regards to parquet deformation as to the Hochschule in itself. However, that is it; there is nothing of parquet deformation or Huff, or indeed, anything connected directly to the subject itself. Only of peripheral interest at best. Isabel Clara Neves’s name came to my attention in a single reference (The contribution of Tomas Maldonado... of 2013) in Tugral Yazar’s (2017) paper. Consequently, I then investigated her further. In the light of this, I found four other papers of hers, mostly on HfG matters, rather than parquet deformation. However, the paper ‘The Emergence…’ does contain three parquet deformations, by James Eisemann. Neves, Isabel Clara, João Rocha and José Pinto Duarte. ‘Computational Design Research in Architecture: The Legacy of the Hochschule für Gestaltung, Ulm’. International Journal of Architectural Computing, Vol. 12, No. 1 March 2014. Only of background interest in regards to parquet deformation as to the Hochschule in itself. Nothing on parquet deformation. Two mentions of Huff (re Maldonaldo), including one in the references. Mostly on Maldonado, with 63 mentions! However, of note is the space-filling curve and Sierpinski triangle, pp. 10-11. Also see below for the same diagram. The use of computational processes in architecture is a widespread practice which draws on a set of theories of computer science developed in the 60s and 70s. With the advent of computers, many of these methodologies were developed in research centres in the USA and the UK. Focussing on this period, this paper investigates the importance of the German Hochschule fur Gestaltung, Ulm (HfG) design school in the early stages of computation in design and architecture. Even though there were no computers in the school, it may be argued that its innovative pedagogy and distinguished faculty members launched analogical computational design methods that can be seen as the basis for further computational approaches in architecture http://papers.cumincad.org/data/works/att/ijac201412101.pdf Neves, Isabel Clara and João Rocha. ‘The contribution of Tomas [sic] Maldonado to the scientific approach to design at the beginning of computational era. The case of the HfG of Ulm. Porto:FAUP, 2014, pp. 39–49. Only of background interest in regards to parquet deformation as to the Hochschule in itself. Nothing on parquet deformation. Four mentions of Huff, only one of which is a single sentence. However, of note is the space-filling curve and Sierpinski triangle, p. 43. ABSTRACT: Nowadays the use of computational design processes in architecture is a common practice which is currently recovering a set of theories connected to computer science developed in the 60`s and 70`s. Back then, such pioneering experiences were carried out by an interest in employing scientific principles and methodologies in architectural design, which, with the help of computers, were developed in Research Centres mainly located in the USA and the UK. Looking into this period, this paper investigates the relevance of the German design school of the Hochschule für Gestaltung of Ulm to the birth of computation in architecture. Even though there were no computers in the school, this paper argues that the innovative pedagogies introduced by a group of distinct professors built clear foundations that can be understood as being at the basis of further computational approaches in architecture. This paper focuses on the remarkable work done by Tomas Maldonado. His contribution was paramount in the emergence of analogical ways of computer design thinking. This analysis ultimately wants to emphasize how the HfG Ulm’s role and its scientific approach have paved the way for the onset of the computational era in architecture. Neves, Isabel Clara. ‘The Emergence of Computational Design Research and Education. A Technical-Scientific Approach, 1950–1970’, 2018, pp. 88–102. In Proceedings of the Sixth Conference on Computation, Communication, Aesthetics & X Madrid, Spain. Edited by André Rangel, Luísa Ribas Mario Verdicchio, Miguel Carvalhais. Published by Universidade do Porto, Praça Gomes Teixeira Huff pp. 92–95, 100–101. 27 Mentions on Huff, but none on parquet deformation! Huff is extensively mentioned on pp. 93-94. P. 96 shows three parquet deformations by James Eisenman, of 1966, at Carnegie-Mellon. The other non-Huff aspects are of no real interest. Abstract A convenient framework of computational design research and education history in architecture is fundamental to formulate the possibilities of a “digital continuity” or “revolution in the discipline” (Oxman 2006). Contributing to this framework, this article presents an analysis of the cultural and technological context that led to the emergence of Computational Research and Design Education — HfG-Ulm and its American counterpoint — focusing specifically on the way teaching and architecture design approached science in the period 1950-1970. This is based in educational programs and places where a remarkable set of teachers, ideas and work converged. Nirma, N, and R. Rama. ‘Terminal Weighted L-Systems’. International Journal of Pattern Recognition and Artificial Intelligence. World Scientific, Vol. 4, No. 1, 1990 pp. 95-112. NOT SEEN, GOOGLE SCHOLAR REFERENCE Abstract …Now we give an example to illustrate how the parquet deformation of Ref. 17 can be generated ...Fig. 4. The parquet deformation … Wikipedia An L-system or Lindenmayer system is a parallel rewriting system and a type of formal grammar. An L-system consists of an alphabet of symbols that can be used to make strings, a collection of production rules that expand each symbol into some larger string of symbols, an initial "axiom" string from which to begin construction, and a mechanism for translating the generated strings into geometric structures. Obviously advanced. Unlikely to be of any real interest. Pitici, Mircea. The Best Writing on Mathematics 2011. Princeton University Press, 2012 NOT SEEN, GOOGLE BOOKS REFERENCE P. 148 D. Hofstadter, Parquet deformations: Patterns of tiles that shift gradually in one dimension, Scientific American (July 1983): 14–20. Also in Metamagical Themas: Questing for the Essence of Mind and Pattern, Basic Books, New York, 1985. Princeton University Press. This annual anthology brings together the year’s finest mathematics writing from around the world. Featuring promising new voices alongside some of the foremost names in the field, The Best Writing on Mathematics 2020 makes available to a wide audience many articles not easily found anywhere else—and you don’t need to be a mathematician to enjoy them. These writings offer surprising insights into the nature, meaning, and practice of mathematics today. They delve into the history, philosophy, teaching, and everyday aspects of math, and take readers behind the scenes of today’s hottest mathematical debates. Seemingly the series began in 2010. Uncertain author credit. DR. SEFIK MEMIS YRD. DOÇ.DR. MURAT SENTÜRK (Author) I. Çekmeköy sempozyumu: Sehir, tarih, toplum, gelecek. Tebligler kitabi: 22-23 Ekim 2016. Publisher: Çekmeköy Belediyesi, 2017 Plender, Richard (ed). Dora Kostakopoulou. Chapter 5. ‘The Capricious Games of Snakes and Ladders: The Nexus of Migration and Integration in Light of Human Rights Norms’, pp. 91-110. See pp. 108-109 (p. 109 Oleson illustration). Issues in International Migration Law Brill - Nijhoff, first edition 2015, p. 108. Preview available on Google Books. In a sociology type article: I have not seen a better depiction of the co-operative model of society mentioned above than in David Oleson's 1964 'parquet deformation' picture featuring below. Entitled the 'I at the Center', it shows how our personal identities are shaped by the myriad of influences of neighbouring others, whose shapes, in turn, become increasingly different as they drift away from the centre. The same would hold true if The ‘I at the Center’ was substituted by ‘Community’. By going beyond the ‘I at the Center’ and Hofstadter's insightful remark that in Oleson’s pen and ink design we see that ‘each of us is a bundle of fragments or other people's souls, simply put together in a new way’…
Reddy, Hasitha. Architecture, Interiors and Urban Design Portfolio. Self Published on Issuu February 21, 2019. 58 pp. See pp. 50-51 Robots and Architecture, Deformation, Art with Kuka Robot Weak premise. N. B. I looked for ‘Hasitha Reddy, parquet deformations’ separately, but without success. https://issuu.com/hasithareddy/docs/portfolio_hvalmeti Rozenberg G. and A. Salomaa. The Book of L. Springer-Verlag 1985 and 1986, p. 415. Sakkal, Mamoun. ‘Intersecting squares: applied geometry in the architecture of Timurid Samarkand’. Journal of Mathematics and the Arts, 2018, Vol 12, Nos. 2–3, pp. 65–95. Saputra, R. A., C. S. Kaplan, P. Asente. AnimationPak: Packing Elements with Scripted Animations’. Proceedings of Graphics?, Proceedings of the 2019 on Creativity and Cognition?, pp. 173-186?, 2019 Pages 95–102 In this paper, I consider the question of how to carry out aesthetically pleasing evolution of the curves that make up the edges in a parquet deformation. Within … Schaffer, Karl. ‘Dancing Deformations’. Proceedings of Bridges 2014: Mathematics, Music, Art, Architecture, Culture, pp. 253–260 ————. ‘The Mathematical Side of M. C. Escher’. Notices of the American Mathematical Society. Volume 57, Number 6, June/July 2010, pp. 706–718 Schorr, Natalie (Facebook) 11 May 2019 I finished a piece this morning that I had been working on for a long time. It's the first in a series called "On the Street Where We Live," and this one is "Exotic." The thought is that there are all kinds of people in our community, and the community is always changing and moving and fluid....It starts with a drypoint street scene, includes a partially cut out parquet deformation pattern, along with a portrait of someone holding or wearing something very colorful. An (mixed media?) artwork, titled ‘Exotic’, with a parquet deformation backdrop. However, the parquet deformation is not particularly clear, but as the artist is explicit in its description, I will accept this at face value. https://www.facebook.com/nataliedrawingguru/photos/a.2040753172862020/2320292908241377/ Schwartz, Jordan. Art of LEGO Design: Creative Ways to Build Amazing Models. No Starch Press, 2014 pp. 71–72. Science Digest, 1984, Vol. 92, p. 25. SILTA - Volume 16, Studi italiani di linguistica teorica ed applicata (Italian studies of theoretical and apple linguistics) Liviana Publishing, 1987 NOT SEEN, GOOGLE BOOKS REFERENCE P. 281. Con “deformazione di parquet” Hofstadter indica un regolare tassellamento del piano, idealmente disegnato con segmenti e curve di spessore zero. Le trasformazioni che intervengono a modificare tale tassellamento devono rispondere a … SILTA Italian Studies of Theoretical and Applied Linguistics (SILTA) is an international magazine, published since 1972 under the direction of Luigi Heilmann and Enrico Arcaini, sole director from 1987 to 2015. The magazine acts as an international comparison point between the theoretical and methodological approaches to different analyzes in the linguistic field. The magazine publishes articles in Italian and foreign languages (French, English, German, Spanish) and also intends to outline an important cross-cultural exchange project. Simmi, Simone (ed?). Eredità, 19 Nov 2012. 16 pp. Inconsequential. Article by Anceschi? Bill Huff svilupperà questa tematica intitolandola “Parquet deformations” = Bill Huff will develop this theme entitled "Parquet deformations" eredità = heredity An obscure publication in Italian, with much uncertainty. Minor mention of Huff and parquet deformations, p. 9. https://issuu.com/simonesci/docs/ulm Sousa, J. P. ‘Calculated Geometries. Experiments in Architectural Education and Research’. In: Viana V., Murtinho V., Xavier J. (eds) Thinking, Drawing, Modelling. Geometrias 2017. Springer Proceedings in Mathematics & Statistics, Vol. 326. Springer, Cham. (2020) NOT SEEN, GOOGLE SCHOLAR REFERENCE This work resonates to the “Parquet Deformation” studio taught by William Huff at Carnegie Mellon in 1966, when, without using computers, such adaptive design concepts were already thought of and exercised [13] … Quotes Huff. 13. Huff, W.S.: What is basic design? In: Crowell, R.A. (ed.) Intersight One. State University of New York, Buffalo (1990) Talley, Charles (Editor). Surface Design Journal - Volumes 16-17. United States: Surface Design Association, pp. 8–10, 1991. Neither author nor article title is given. Teo, Sebastian? Ytsproject. Portfolio 2017, Self Published on Issuu March 19, 2017, 28 pp. See p. 12. Uses my ‘France’ parquet deformation in a square configuration, l-r, u-d. Oddly, I cannot find a single mention of ‘parquet deformation’ on the page, although it showed up upon the initial generic search! https://issuu.com/ytsproject/docs/portfolio2017reduced Thompson, D’Arcy. On Growth and Form. Cambridge University Press, 1917 Tuğrul, Yazar. 'Revisiting Parquet Deformations from a computational perspective: A novel method for design and analysis'. In International Journal of Architectural Computing. Volume: 15 issue: 4, pp. 250–267, 2017. Wang, Patrick Shen-Pei (editor). Array Grammars, Patterns and Recognizers. World Scientific Series in Computer Science. 1989. Google Snippets: Pp. 69 347 : 6 SMG and Parquet Deformation Yet another interesting application of the indexed SMG is in the description of parquet deformation. A parquet deformation is one in which a regular tessellation of the plane gets deformed progressively in one dimension and at each stage is a unit cell that combines with itself so that it covers an infinite plane exactly. In Ref 6 some parquet deformations have been described using the concept of attacking a weight function to the terminals of an array. Here we illstre how indices in the vertical grammar help us to describe interesting parquet deformations in which the pattern shifts at varying speeds in the upper half and lower half of the picture. This is a feature that cannot be described by the earlier technique P. 71. .. a parquet deformation known as Consternation... P. 334. Finally the application of SMG with indices in describing parquet deformation is brought out P. 350. Quotes Hofstadter's 1983 paper in references. I must say I very much like the definition of a parquet deformation given here! I will suitably adopt and adapt it. Wintermantel, Ed. ‘Designed To Be Different’. The Pittsburgh Press, Sunday, February 27, 1972, pp. 10–11. Yao, Szu-An. Portfolio 2015. ‘Deformative Space Space Frame Structure by Adaptation of Parquet Patterns’. Self Published on Issuu January 7, 2016, pp. 56 Ying, Fu. Portfolio. ‘Landscape Mosque’. Self Published on Issuu April 8, 2015, 37 pp. See p. 28. ...This idea is similar to the idea of parquet deformation that the roof is a single piece, but the geometries are varied. Alludes to parquet deformation, rather than showing any. Created 22 December 2020. Continually revised subsequently, too many times to list. Last updated from working document 22 July 2021. |
Parquet Deformations >