less is more n more is less

Less Is More, More Is Less
Here are some general thoughts as to what the game plan could or should be as the Fed unveils any number of options regarding interest on reserves or operation twist or other. 
I think it is important to inject simplicity into the machinations of debates and outcomes of prospective policy outcomes by the Fed and the perceived impacts on markets. 
As a rule, I perceive asset purchases, twisted portfolio tweaks, and other maneuvers as tacit forms of “stimulus”.  If one had to align an activity in a “stimulus” or “easing” column versus a “tightening” or “contracting” column, I would place recent Fed buybacks, SOMA, asset purchases, saber rattling, and prospective twists more clearly in the “easing” column. 
Traditional rudimentary easings are long gone and used to be composed of mere rate cuts and rate hikes of funds or discount rates.  Unparalled in history is recent creative stimulus developments in the form of asset purchases like buying bonds.  However, the marketplace in recent memory has had to contemplate the TECHNICAL consideration and extrapolate what it means for an official entity to actually physically purchase or target an instrument or instruments like bonds or bond purchases. 
However, I urge one to step back from the micro technically extrapolated trees and to look at the macro policy impacted forest.   In some ways, there have been distractions and distortions of “micro” policy gimmicks which have blurred more traditional macro themes which I think may warrant greater emphasis.
Generally speaking value propositions in bonds are marked by steadfast central banking.  Vigilant Chairman’s (not vigilantes), salty dogs, Bunds bank like revile for the impacts of inflation on society and fixed purchasing power like bonds yields.   Easing’s from Chairman may be bad for an asset that a Chairman has a mandate to protect.  Recall DUAL mandate of promoting full employment and stable prices.  Also, recall the former TRIPLE mandate of moderate long term interest rates.  That has already been abandoned and somehow the charter has changed.
There has been considerable discussion recently of “targeting” metrics like employment or inflation and linkages of such to additional or continual monetary policy activity.  I can’t help but to think that the Fed is aspiring for cover by potentially abandoning or prioritizing AWAY from their inflation mandate more towards the benefit of the full employment mandate benefit.  This is clearly controversial debate that I dare elevate such a concept. 
Another concept that can be debated as it applies to policy is that less is more and more is less.  And that market lives in a world of opposites valuation schematic.  More push on policy monetary easing is ultimately worse for the targeted valuations and less monetary spigot ensures the ultimate preservation of such assets. 
Again, what does this all mean?  It means that similar to the infamous period formerly known as QE2, the market focused on perceived rate benefits (lower) of the belly of the yield curve (the supposed targeted tenor of policy purchases) and yet were overwhelmed by some other technical or macro valuation outcome.  In the fourth quarter of last year, I kindly remind you that the belly of the curve, the supposed target of asset purchases, cheapened in record fashion on a standard deviation basis to the long end of the market, something which bucked or countered the prevailing technical or extrapolated view.
Moreover, I kindly draw attention to the fact that when bond purchases were telegraphed and tapering off, arguments or debates were postured that, “Who is going to buy all this paper and replace the Fed?”   The cryptic irony and pyrrhic victory was that absent the magnitude of $600 billion bond purchases (still $300 billion of purchased ensued of reinvestment of Treasury and MBS interest in Fed portfolio) of additional “easings” or asset purchases, the collective wisdom of the bond market was a reprising in yields LOWER.  World of opposites is the new macro moniker for the key to trade bond markets.
I direct your attention to the pace and direction of stimulus additions at the time to look at the “macro” forest from the “extrapolated trees” to see the outcome of a policy departure was more beneficial to bond market valuations as The Chairman was illustrating sound monetary prescriptions, ones that preserve streams of cash flows instead of diluting them, perceived exiting of easing. 
So, with a morning rant in a pre-Fed proclamation (which wasn’t planned), I can’t help to think that if the telegraphed notion of a twist or a reduction of interest on reserves were to occur today that this could be viewed as a mere TECHNICAL operation but possibly the order of the day is that, this policy is aligned in the wrong column to protect the integrity of purchasing power of bond investors.



LESS IS MORE
Meaning
The notion that simplicity and clarity lead to good design.
Origin
This is a 19th century proverbial phrase. It is first found in print in Andrea del Sarto, 1855, a poem by Robert Browning:
Who strive - you don't know how the others strive
To paint a little thing like that you smeared
Carelessly passing with your robes afloat -
Yet do much less, so much less, Someone says,
(I know his name, no matter) - so much less!
Well, less is more, Lucrezia.
The phrase is often associated with the architect and furniture designer Ludwig Mies Van Der Rohe (1886-1969), one of the founders of modern architecture and a proponent of simplicity of style.

MORE IS LESS
Autonomy and Freedom of choice are critical to our well-being, and choice is critical to freedom and autonomy. Nonetheless, though modern American shave more choice than any group of people ever has before, and thus, presumably, more freedom and autonomy, we don't seem to be benefiting from it psychologically.

function follow form and form follow function.

FORM FOLLOW FUNCTION

Form follows function is a principle associated with modern architecture and industrial design in the 20th century. The principle is that the shape of a building or object should be primarily based upon its intended function or purpose.

The authorship of the phrase is often, though wrongly, ascribed to the American sculptor Horatio Greenaugh, whose thinking to a large extent predates the later functional approach to architecture. It was, however, the American architect Louis Sullivan who coined the phrase, in 1896, in his article "The Tall office building artistically considered". Here Sullivan actually said "form ever follows function", but the simpler (and less emphatic) phrase is the one usually remembered. For Sullivan this was distilled wisdom, an aesthetic credo, the single "rule that shall permit of no exception". The full quote is thus:

It is the pervading law of all things organic and inorganic,
Of all things physical and metaphysical,
Of all things human and all things super-human,
Of all true manifestations of the head,
Of the heart, of the soul,
That the life is recognizable in its expression,
That form ever follows function. This is the law.

Sullivan developed the shape of the tall steel skycrapper in late 19th Century Chicago at the very moment when technology, taste and economic forces converged violently and made it necessary to drop the established styles of the past. If the shape of the building wasn't going to be chosen out of the old pattern book something had to determine form, and according to Sullivan it was going to be the purpose of the building. It was "form follows function", as opposed to "form follows precedent". Sullivan's assistant Frank Lloyd Right adopted and professed the same principle in slightly different form, perhaps because shaking off the old styles gave them more freedom and latitude.



FUNCTION FOLLOW FORM

A Reverse Process Design Project


The following lists outline the sequence of steps for traditional design process and the alternative
sequence used in this project.

The traditional route for ID:

1. Design brief and introduction to the purpose
2. Research
3. Sketching (two dimensional)
4. Concept rendering (two dimensional)
5. Refinement drawings (two dimensional)
6. Model making (three dimensional)
7. Detail design (in digital three dimensions)

The route taken in reverse process design project:

1. Model making form studies (three dimensional)
2. Sketching of models (two dimensional)
3. Design brief and introduction to the purpose
4. Research
5. Revisions of form (three dimensional)
6. Final model making (three dimensional)
7. Detail design (in digital three dimensions)


This understanding begins with abstract form theory, a structure of abstract visual relationships.
Prior to this project, the third year ID studio class at WWU had been studying and doing the
exercises of Rowena Reed Kostellow’s three dimensional design form theory. These exercises
were developed by Ms. Kostellow during her celebrated career as a professor at Pratt Institute
from 1938 to 1972. The goal is to develop a student’s sensitivity to form: to create it, analyze it,
and understand it based on this formal theory of spatial relationships.  
LE MODULOR

The Modulor is an anthropometric scale of proportions devised by the Swiss-born French architect Le Corbusier (18871965).
It was developed as a visual bridge between two incompatible scales, the Imperial system and the Metric system. It is based on the height of an English man with his arm raised.

LE MODULOR
LE CORBUSIER,1948

180 x 180 mm / 60 gridded sheets
Measuring system based on mathematics and
the human body

The Modulor made a major contribution to the form of modern architecture and became the foundation stone for most design systems and modern grids. The Modulor was primarily concerned with architectural form, but Le Corbusier was quick to point out its application to other areas, including the design of the printed page. The design system took the golden section one step further by linking it to the scale and proportion of the human anatomy.

Le Corbusier selected the solar plexus, the top of the head, and the tips of the fingers of an extended arm as the principal anatomical locations. the distance from the ground to the solar plexus represents the extremes division of the golden section, and the distnace between the solar plexus and the top of the head is the mean. From this base Le Corbusier produced an infinite series of mathematical proportions that could be applied to a wide range of architectural dimensions.

Most apllications of Le Modulor to graphic design, including Le Corbusier's own designs of Le Modulor, and Suite de la Modulor, have not been particularly impressive. Perhaps the most important contribution of the Modulor to two-dimensional design was the inspiration it gave to the typographic designers of Germany and Switzerland to create the modular systems that would transfer utilitarian makeup sheets to design-oriented modern grids. (extracted from Allen Hurlburt, The Grid, John Wiley & Sons, 1978)



HISTORY

Le Corbusier developed the Modulor in the long tradition of Vitruvius, Leonardo de Vinci's vitruvian's man, the work of leone Battista Alberti, and other attempts to discover mathematical proportions in the human body and then to use that knowledge to improve both the appearance and function of architecture. The system is based on human measurements, the double unit, the Fibonacci numbers, and the golden ratio. Le Corbusier described it as a "range of harmonious measurements to suit the human scale, universally applicable to architecture and to mechanical things."

With the Modulor, Le Corbusier sought to introduce a scale of visual measures that would unite two virtually incompatible systems: the Anglo Saxon footand inch and the French Metric system. Whilst he was intrigued by ancient civilisations who used measuring systems linked to the human body: elbow (cubit), finger (digit), thumb (inch) etc., he was troubled by the metre as a measure that was a forty-millionth part of the meridian of the earth.

In 1943, in response to the French National Organisation for Standardisation's (AFNOR) requirement for standardising all the objects involved in the construction process, Le Corbusier asked an apprentice to consider a scale based upon a man with his arm raised to 2.20m in height. The result, in August 1943 was the first graphical representation of the derivation of the scale. This was refined after a visit to the Dean of the Faculty of Sciences in Sorbonne on 7 February 1945 which resulted in the inclusion of a golden section into the representation.

Whilst initially the Modulor Man's height was based on a French man's height of 1.75m it was changed to six feet in 1946 because "in English detective novels, the good-looking men, such as policemen, are always six feet tall!" The dimensions were refined to give round numbers and the overall height of the raised arm was set at 2.26m.