br Results The results showed a correlation

Results The results showed a correlation between demographic groups and method of choice or perception of graphic quality. Age was a factor in preference of tool use (hand, digital, or a hand/digital hybrid approach) in the creation of design sketches (Χ2 (10)=25.411, p=.005) and for illustrative graphics (Χ2 (10)=23.217, p=.010), with “older” respondents preferring hand methods and graphics. Age also was a determinant in opinions on which method creates a more attractive graphic (Χ2 (15)=25.654, p=.042) and whether digital graphics feel warm or cold (Χ2 (5)=11.421, p=.044). A significant gender variation was observed in the respondents’ sense of disconnection between their thoughts and hands when using digital tools (Χ2 (1)=3.908, p=.048), with men more likely to experience issues translating thought to computer-based systems than women. A difference between students and practicing professionals was observed with regard to the tools they prefer in creating illustrative graphics (Χ2 (2)=14.251, p=.001) and in their opinions on which methodology generates a more attractive graphic (hand, digital, hybrid, or no preference; Χ2 (3)=9.157, p=.027). Student class year influenced the production methodology for analysis graphics (X2(10)=25.906, p=.004) and perception of the attractiveness or unattractiveness of hand-drawn graphics (X2(5)=13.260, p=.021).
Discussion
Conclusion
Acknowledgements
Introduction This paper is based mainly on a discussion of how the frieze metamorphosed from textile to marble storytelling material in architecture and how it apexbio dilution contributes to achieving spatial–textile storytelling in the Ionic frieze and the Parthenon. Section 2 is a general discussion of Gottfried Semper׳s idea that original architecture metamorphosed as a meaningful activity of man, from the weaving of branches to the analogous application of stones. In addition to Semper׳s idea, the discourse introduces the frieze in classical architecture and in Ancient Greece as textile storytelling by employing the Panathenaia peplos as the narrative device. Section 3 is a case study of the Ionic frieze in Parthenon, in Greece, as a spatial–textile storytelling device. Section 4 concludes the paper.
Weaving the frieze
Weaving the Panathenaia: Ionic frieze on the Parthenon as spatial–textile storytelling
Conclusion
Acknowledgments This work was supported by the Fundamental Funds of the Humanities and Social Sciences of the Beijing Jiaotong University China under the Grant KAJB13007536.
Introduction Geometry is Heterokaryon associated with legibility (Critchlow, 1987, 1976; Hecht, 1988). Regular geometry applied to new tangible products has been widely explored, but the intricacies of the perception on legibility relative to space have yet to be described (Stanford, 2007; Walsh and Cummins, 1976). In most cases, visitors are exposed to irregular geometries utilized for urban spaces, where an increasing number of skyscrapers destroy landmarks (Etienne, 2003; Etienne et al., 1998). Geometric designs may also differ from urban designs used for city development (Lee et al., 2012). Landmarks or geometry is used as a basis for legibility. For example, visitors in a space learn to “read” an area by using two- and three-dimensional cues (Fig. 1) (Sheynikhovich and Arleo, 2010). When finding their way, visitors likely apply landmarks as visual cues in a three-dimensional spatial configuration (Raubal and Winter, 2002). In geometry, human spatial navigation is incorporated in the second dimension (Kelly and Bischof, 2008). Thus, landmarks and geometry can affect a visitor׳s orientation and navigation (Sovrano et al., 2005). With the development of skyscrapers, regular geometric design may be more reliable than landmarks alone during landscape reading and wayfinding (Sheynikhovich and Arleo, 2010). Animals and young children, their perception on legibility based on geometry, and the association of legibility with landmarks have been widely considered in legibility-related studies. However, spaces and their relationship with visitors have yet to be fully explored. As such, legibility in spaces should be further investigated to describe their relationship comprehensively. Although legibility in general has been extensively investigated, the legibility of spaces from a visitor׳s viewpoint has been rarely determined (Dalton and Bafna, 2003; Golledge, 1999; Lynch, 1960). Information on the effects of landmarks on legibility is also limited (Darken and Sibert, 1996; Hartley et al., 2004; Lynch, 1960; Magliano et al., 1995; Ruddle et al., 1999).