ALIVE

Dividing the discipline’s metaphors between technical and conceptual is a reality not fully explored, nor I believe never noticed. In addition to the multidisciplinary relevance and general use of metaphors, metaphoric axioms, arguments in favor of the stasis of why interior design is an art the two realities of the metaphor work separately and together in six  creative ways.  Many of my monographs included analyzing and explaining the syllogism:
• Art[I]  is the making of metaphors
• Interior design  is an art[I]
• Therefore interior design is the making of metaphors.
Art [I] is only when skill is applied with intent and advanced development of some skill.
Till now we did nothing to reason why art [I] is the making of metaphors, nor why interior is an art [I]. Since 1967 I proceeded to analyze the presumptions and find its many applications. This new information in Metaphor and Thought by Andrew Ortony first published in 1979, provides information to support inductive reasoning and to this end each axiom is its own warrant to the inferences of the above syllogism and the answer to questions of why metaphor is the stasis to any of the syllogism’s claims and implications.
The six priciples explain the stasis in terms of metaphor’s two technical and conceptual dimensions.  Both are valid separately and even more acceptable in combination.  But how do they two operate and how does knowing this benefit design, use and evaluation of built works?
The technical is that all art [I], including interior design, expresses one thing in terms of another by its inherent and distinct craft. On the one hand there is the designer who acts as the owsnere’s surrogate  and on the other the fountain of conceptual metaphors which expresses ideas as built conceptual metaphors other wise known as interior desings. Techne is actually a system of practical knowledge as a craft or art informed by knowledge of forms. 
For  example,  the craft of managing a firm ofinterior designers where even virtue is a kind of technê of management and design practice, one that is based on an understanding of the profession, business and market. In this case the technai are such activities as drafting, specifying, managing, negotiating, programming, planning, supervising, and inspection.  By association with these technai, we can include decorationg, funiture selection, color coordianation, writing, and painting.  So much so that the study and practice of design is devoid from the humanities and downplays theories of design;  developing rather the crafts, skill and understandings needed to plan, sketch, draw, delineate, specify, write, and design.
Contemporary interior design is replete with axioms, principles and theorems guiding the geometry, applications of science, use of engineering, and formal logic to produce technical metaphors and justly excluding a whole conversation about the conceptual part of the built metaphor.

In another time when kingdoms created their dynasty’s iconic buildings, the architect and artisans took their ques from the reigning monarch. In our modern pluralistic society the free reign of ideas and opinions as to contexts and their meanings are diverse. As the doctor takes the Hippocratic oath, the lawyer vows to defend all so there is one whose call is to capture the ethos (4.0 The Oxford English Dictionary, is defined as "the characteristic spirit, prevalent tone of sentiment, of a people or community” ) of his time into built metaphors, he is called architect. Not only is my childhood quest relevant but the essence of the responsibility of today’s architect who not only reasons the technical but individually reasons the conceptual. It is to the architect that society turns to be informed about the shape and form of the context in which life will be played. With this charge the need to know that we know and do by reasoning what science verifies by the scientific method to know that we know about the buildings, parks, and places we set into the environment. It is a public and private charge included in the contract for professional services but unspoken as professional life’s experience; to prove the relevant, meaningful and beneficial metaphors that edify encourage and equip society as well as provide for its’ health, safety and welfare. So it is critical to realize, control and accept as commonplace that the role of the architect is to do much more than build but build masterfully.

Twenty eight dominant axioms and 54 sub-dominant axioms (total of 82) are evidence of the case that architecture is an art resolved that architecture was the making of metaphors because it (architecture) made metaphors, personified by metaphor stasis’ two technical and conceptual dimensions. Both are valid separately and even more usual in combination. But how do these two work, and, how does this knowledge benefit design, use and evaluation of built works? The axioms were derived by examining Andrew Ortony’s Metaphor and Thought’s evidence and works by Paul Weiss, William J.J. Gordon and the Yale lecture series titled architecture as the making of metaphors. . Prior monographs were steeped in deductive reasoning since there was no new information (evidence) pertaining to metaphors. Therefore the previous articles included analyzing and explaining the syllogism:
• Art [G] is the making of metaphors
• Architecture is an art [G]
• Therefore architecture is the making of metaphors.

Early monographs were steeped in deductive reasoning since we could not find new information pertaining to metaphors. This included analyzing and explaining the syllogism:
• Art[I]  is the making of metaphors
• Architecture (design)  is an art [I]
• Therefore architecture (design) is the making of metaphors.
Till now we did nothing to reason why art [I] is the making of metaphors nor why architecture is an art. Since 1967 I proceeded to analyze the presumptions and find its many applications. This new information by Andrew Ortony first published in 1979, provides information to support inductive reasoning and to this end each axiom is its own warrant to the inferences of the above syllogism and the answer to why metaphor is the stasis to any of the syllogism’s claims and implications. The axioms are presented in labeled paragraph and subparagraphs format for easy reference and applications.
Keywords:
metaphor, architecture, thought, commonality, commonplace, dubbing, cognitive, knowing, stasis, art , [I]  linguistic analogy, equilibrium, equipoise, topoi, top-down, frame conflict, appreciate, conduit, parte, design system, modified culture, mapping, structure, domain, signs, apparatus, spaces, volumes, shapes, forms, metaphorical mappings, invariance principle, alive, dead, onomatopeics, surrogates, appetite, desire, mind, indirect use, direct use, vision, gestalt, formulae, grand design, psychological, processes, metaphor comprehension, memory, mnemonics, encoding, mapping, categorizing, inference, assimilation, accommodation, attribution, inferential import,  structured programming, stability, referential specificity, general acceptance of terms, vividness thesis, difference, identity, comparison sensible, communications.