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Shape
Talking about Seeing and Doing
George Stiny
MIT Press
Cambridge, MA.
2006
© 2006 Massachusetts Institute of Technology
All right s reserved . No part of this book may be reproduced in any form by any electronic or me-
chanical means (including photocopying, recording, or infonnation storage and retrieval) without
permission i n writing from th e publisher.
MIT Press books may be purchased at special quantity discounts for business or sales promotional
use. Fo r infonnation, pleas e email special_sales@mitpress.mit.ed u o r write to Special Sales Depart-
ment, The MIT Press, 55 Hayward Street, Cambridge, MA 02142.
This book was set in Stone Serif and Stone Sans by Asco Typesetters, Hong Kong.
Printed and bound in the United States of America.
Library of Congress Cataloguing-in-Publication Dat a
Stiny, George.
Shape : talking about seeing and doing / George Stiny.
p. cm .
Includes bibliographical reference s and index.
ISBN 0-262-19531-3 (alk. paper)
1. Shapes—Design—Art. 2 . Geometrical models—Design—Art. 3 . Creation (Literary, artistic,
etc.)—Mathematics. I . Title.
QA445.S764 200 6
745.4—dc22 200504389
10 9 8 7 6 5 4 3 2
1
9
Contents
Acknowledgments
ix
INTRODUCTION: TELL ME ALL ABOUT IT
1
I
WHAT MAKES IT VISUAL?
61
II
SEEING HOW IT WORKS
159
III
USING IT TO DESIGN
311
Notes
Index
391
409
Acknowledgments
This book is about drawing shapes and calculating by seeing. This takes a lot of doing,
and I’ve had plenty of help to make it happen. A number of people have commented
on parts of this book with fresh and useful insights—alphabetically, Chris Earl, Jim
Gips, Iestyn Jowers, Terry Knight, Lionel March, Bill Mitchell, Mine Ozkar, and Sherry
Turkle. But in many other ways, the following pages show the results of the conversa-
tion Lionel March and I have had on design over the past twenty-five years. My real
hope is that this book is just a preface to more seeing and doing, and talking about
it in new ways. And then there are the figures, at least 1,126 of them by one count
and more it seems by others. These computer drawings are almost entirely the work
of Mine Ozkar—with the exception of a handful of scanned images, and Jacquelyn
Martino’s ‘‘tadpole’’ in part I and ‘‘no ambiguity’’ sign in part II and part III. With
heroic intelligence and skill, Mine took my original pencil sketches and verbal descrip-
tions through my continual changes to what’s printed on the page. At times the
process must have seemed interminable, but she kept at it with enthusiasm and an
undiminished sense that drawings are as important as words. And in fact, that’s
another way to approach this book. Drawing then looking meld seeing and doing—
there are shapes and words calculating together in an open-ended process in which
you’re always free to go on in your own way.
I would also like to thank The MIT Press for its patience, and especially Doug Sery
for pushing softly but never doubting that it would all get done. A book like mine
where drawings are used like words is a huge commitment, and I’m truly grateful that
The MIT Press was willing to take it on with a full measure of its resources.

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