54 4 Designing with Blends as force vectors and an upright axis or a point relative to which those forces are distributed. In any physical experience, balance organizes a symmetrical structure of forces around a point or axis. The prototypical schemata are modified so that the numberof vectors is reduced to two symmetrical vectors and the number of points reduced to a simple point that forms a fulcrum (Fig. 4.2). The balanced and equal force vectors meet at this point. Theweaveofourexperienceisinterlacedwith relationsbetween variousimage- schematic structures. So image schemata are adaptable and flexibly modified to harmonize diverse situations. Image schemata are abstract representations and schematic gestalts in nature, not just symbols (Johnson 1987). The BALANCE schema, for example, is one of the recurrent dynamic patterns that emerge from bodily interactions that make up the way we grasp the world. They express the structural outlines of sensory-motor experience. They are embodied, and integrate information from various sensory systems and could be represented in a visual, haptic, kinaesthetic or acoustic manner through metaphorical projections. Metaphorical Projections Metaphoricalprojectionis a cross-domain mappingof projecting patterns from one domain to another in order to support understanding of one concept in terms of anotherconcept,wherethereissomesimilarityorcorrelationbetweenthem(Lakoff and Johnson 1980). Physical bodily experience works as a constraint to define the kinds of mappings that can emerge across domains. Metaphor is not only a linguistic expression, but also, as Johnson (1987,v) stressed, “one of the chief cognitive structures by which we are able to have coherent,orderedexperiencesthatwecanreasonaboutandmakesenseof”.Patterns developedin our concrete bodily experience are employed in the form of metaphor to bring order to enable our more abstract understanding. Metaphorical projection from the concrete bodily experiences to the abstract domains helps understanding a world around us by making use of physical experience. Embodied schematic patterns are structured via various physical domains of bodily movements and interactions, and patterns can be projected by metaphor onto abstract domains. Thenatureofmetaphorremindsustheoriginoftheterm‘design’inLatin,which is from de- ‘out’ C signare ‘to mark,’ from signum ‘a mark, sign’. Design can be seen as bringing order to a chaotic state and to find a plan and conceive it in mind in ‘order’ to visualize or form something. Figure 4.3 shows a stylistic interpretation of “people who intuitively interpret what is of value for their purposes in their current environment and try to become harmonious with it in everyday life activities” Goto et al. (2004). If there were no umbrella-stand available, people would stand the umbrella as Fig. 4.3 shows. The edge-point might be positioned in accordance with a feature of the environment, such as a slit between lines of floor tiles. The distance between the edge-point and the wall, the angle of the tilted umbrella and the force by which the umbrella stably stands-alone are perfectly meshed.