Sentence examples for relation of form from inspiring English sources

Disappointment with the design revolved largely around the idea that the architects had retreated from the prevailing tenets of modernism -- relation of form to function and interior space; expression of structure and materials -- and instead had indulged a preoccupation with style, ornamentation, theatrical effects and historical reference.

However that issue is to be resolved, what is the relation of form to the compound and to matter?

Previous discussions of the relation of form and matter, and of the role of medium in art, have addressed this point.

This debate eventually was to involve issues of paleontology, comparative anatomy, transformism of species, and the relation of form to function.

Most interesting from our point of view are those questions that deal with metaphysical issues, like the relation of form and matter, and with the status of universals in general (see Tweedale 1984, Sharples 2005, and Sirkel 2011).

Its five chapters pursue this purpose, discussing the appropriate level of generality for such studies, the modes of causality and of necessity to be used in biological explanations, the relation of form to matter in living things, the proper method of division for this subject matter, the means of identifying kinds and their activities at the proper level of abstraction, and much more.

As architectural objects are typically non-representational and designed with manipulation and relation of forms as a primary task, it is natural that their formal properties be seen as playing a central role in our aesthetic appreciation of them.

Relations of form and function can operate at an extremely abstract level: "A building, whose doors and windows were exact squares, would hurt the eye by that very proportion: as ill adapted to the figure of a human creature, for whose service the fabric was intended" (EPM, 212 13).

The relations of forms in depth can then be thought of as relations between forms lying in different planes.

Furthermore, as this theory was developed in relation to his work on the fossil record, the theory of the archetype as an immanent law working in time led Owen to embrace a concept of branching and diversifying relations of forms as divergences from this ideal archetypal form over time.

A key problem they struggled with concerned the relation of the form characteristic of the minima of combining substances and the form of the minima of the resulting compound.