The aim of this paper is to show (a) how motion has ontological priority over space and (b) how the relationship between motion and form underpins mindness. The analysis of spatial perception reveals an interplay between spatial and temporal relations that is evident in language and surfing. Indo-Pacific Journal of Phenomenology , Volume 8, Edition 1 May 2008.

The Norwegian historian Christian Norberg-Schulz (1926-2000) is held responsible, in general, for introducing phenomenological methods and concepts into the field of architecture theory, criticism and history. This article examines his legacy and his writings by focusing on one text on the Pyramide-Le-Perthus, built in France in 1976 by the Spanish architect Ricardo Bofill. In an exemplary way, this text shows how Norberg-Schulz used phenomenology not to ‘experience’contemporary architecture, but rather to protect it from the problems of the modern world. Norberg-Schulz (...) wrote that architecture should “tell us what being in the world implies,” but the world he constructed by means of a phenomenological reading of architecture, proves to be very narrow and almost absurd. (shrink)

The article discusses the theory and practice of software development in the light of design theory. It tries to show that the design process cannot be forced into a predefined operational sequence. To underline this, the history of design methods is retraced, showing that such approaches were abolished not only in practice, but also the theory of design. The essay then discusses the cognitive framework of contemporary design theory and closes with the proposal that informatics should redefine itself as a (...) design discipline in order to tackle the problems of interaction design. (shrink)

Hierarchies occur widely in evolving self‐organizing ecological, biological, technological, and social networks, but detecting and comparing hierarchies is difficult. Here we present a metric and technique to quantitatively assess the extent to which self‐organizing directed networks exhibit a flow hierarchy. Flow hierarchy is a commonly observed but theoretically overlooked form of hierarchy in networks. We show that the ecological, neurobiological, economic, and information processing networks are generally more hierarchical than their comparable random networks. We further discovered that hierarchy degree has (...) increased over the course of the evolution of Linux kernels. Taken together, our results suggest that hierarchy is a central organizing feature of real‐world evolving networks, and the measurement of hierarchy opens the way to understand the structural regimes and evolutionary patterns of self‐organizing networks. Our measurement technique makes it possible to objectively compare hierarchies of different networks and of different evolutionary stages of a single network, and compare evolving patterns of different networks. It can be applied to various complex systems, which can be represented as directed networks. (shrink)

We argue that considering only a few ‘big’ ethical decisions in any engineering design process — both in education and practice — only reinforces the mistaken idea of engineering design as a series of independent sub-problems. Using data collected in engineering design organisations over a seven year period, we show how an ethical component to engineering decisions is much more pervasive. We distinguish three types of ethical justification for engineering decisions: (1) consequential, (2) deontological or non-consequential, and (3) virtue-based. We (...) find that although there is some evidence for engineering designers as ‘classic’ consequentialists, a more egocentric consequentialism would appear more fitting. We also explain how the idea of a ‘folk ethics’ — a justification in the second category that consciously weighs one thing with another — fits with the idea of the engineering design process as social negotiation rather than as technological progress. (shrink)

Design of information systems, on the one hand, is often dominated by pure technical considerations of performance, correctness or reliability. On the other hand, sociological analysis of the social impact of information technology is not transfered to operationalised design criteria and to practice. The paper discusses this contradiction and tries to overcome the gap between computer science and social sciences in design by analysing the history of design in architecture and fine arts as well as the approaches of contemporary design-oriented (...) disciplines. Based on this analysis and on the broad discussion about human-centredness, foundations of a new Design Science are outlined. Consequences for the education of computer scientists and software designers are discussed. (shrink)

Space is a product of semiosis. It is a condition pertinent to an organism’s semiotic freedom, which is articulated by the organism as a consequence of its capacity to manipulate the world in the course of its unfolding interaction with its environment. Spatial configuration is thus the result of agency inherent in the organism-in-its-environment. Space, a consequence of social cohesion, is effected through constraints and processes of enaction which are semiotic. These processes are productive and offer architects a novel means (...) by which to configure space, which they should embrace to articulate the nature of inhabitation. The model presented identifies activity as the essential building block to the generation of form. Modelled as a form of artificial life, swarm-like components, referred to as ‘actants’, represent discrete activities and self-configure according to differences in the environment they detect, to form a body-of-swarms. Thus, depicting the spatiality of being. (shrink)

It is proposed that there are important generalizations about problem solving in design activity that reach across specific disciplines. A framework for the study of design is presented that (a) characterizes design as a radial category and fleshes out the task environment of the prototypical cases; (b) takes the task environment seriously; (c) shows that this task environment occurs in design tasks, but does not occur in every nondesign task; (d) explicates the impact of this task environment on the design (...) problem space; and (e) demonstrates that, given the structure of the information-processing system, the features noted in the problem spaces of design tasks will not all occur in problem spaces where the task environment is vastly different. This analysis leads to the claim that there are a set of invariant features in the problem spaces of design situations that collectively constitute a design problem space. Protocol studies are reported in which the problem spaces of three design tasks in architecture, mechanical engineering, and instructional design are explored and compared with several protocols from nondesign problem-solving tasks. (shrink)

In this article, I outline a logic of design of a system as a specific kind of conceptual logic of the design of the model of a system, that is, the blueprint that provides information about the system to be created. In section two, I introduce the method of levels of abstraction as a modelling tool borrowed from computer science. In section three, I use this method to clarify two main conceptual logics of information inherited from modernity: Kant’s transcendental logic (...) of conditions of possibility of a system, and Hegel’s dialectical logic of conditions of in/stability of a system. Both conceptual logics of information analyse structural properties of given systems. Strictly speaking, neither is a conceptual logic of information about the conditions of feasibility of a system, that is, neither is a logic of information as a logic of design. So, in section four, I outline this third conceptual logic of information and then interpret the conceptual logic of design as a logic of requirements, by introducing the relation of “sufficientisation”. In the conclusion, I argue that the logic of requirements is exactly what we need in order to make sense of, and buttress, a constructionist approach to knowledge. (shrink)

Purpose – The aim of this paper is to answer the question: how can judgment about good and bad behavior of a device or service under development be included in the development process? Design/methodology/approach – By distinguishing between detached good/bad judgment, called “ethics of the eye”, and judgment about good and bad behavior embedded in doing and dialogue, called “ethics of the hand”, two examples of designer judgment are examined, one embedded and one detached. The outcome is explained by means (...) of an application of Ricoeur's hermeneutics, where he shows how narration comprises pre-figuration, con-figuration and re-figuration. An examination of collaborative prototyping in Krzysztof Wodiczko's work on building a vehicle together with homeless people in Manhattan, New York, is contrasted with an example of the detached evaluation of use in Joseph Weizenbaum's account for use of his computer therapy program Eliza. Findings – The difference is identified as the difference between joint making and dialogue, resulting in re-configuration, and detached evaluation, which sticks with the pre-figuration. The paper concludes that for engineering and design at large “ethics of the hand”, the collaborative doing and dialogue, where the engineering and the designerly way of understanding come together over a prototype, brings out a shared frame, which makes ethics an integrated part of the development process. Originality/value – The paper discusses how judgment about good and bad behavior of a device or service under development can be included in the development process and shows that the answer is collaborative prototyping. (shrink)

This article examines the prospects for an authentic regional architecture in the light of alternative development paradigms. It is argued that the failure of orthodox development strategies and the domination of western culture, including architecture, over non-Western cultures, is due to fundamental imbalances between northern and southern economic structures. By contrast, ecodevelopment, appropriate technology and regional architecture all represent significant devolutionary movements toward a global “eco-culture.” A cultural typology placing eco-culture in historical perspective is outlined. It is concluded that, to (...) be fully effective, changes in development patterns in the south have to be matched by equivalent cultural changes in the North. (shrink)

During the idea generation phase of the design process, designers often search for inspirations in external sources of information, such as photographs, written descriptions and physical examples. These sources have potential to enhance creative performance. However, they sometimes become too attached to particular ideas of external precedents or various examples. It refers to fixation which is identified as inadequate adoption of features from existing examples. Influence of the existing examples on creativity and fixation, specifically textual examples, have been discussed in (...) this research. -/- For the nature of design, researchers highlighted the restructuring process of design problem by new sources because the capabilities and boundaries of design problems are not defined very well. Further, the design problem is not knowable at any specific point. Design knowledge identifies itself by its ambiguity. Many models have been developed for design process. The various numbers of divided phases of the models can be seen as having two main areas: (1) idea generation phase (or “ideation”); (2) later phase for details. Idea generation plays an important role in the design process. It is the area of new and creative configurations on design. -/- Creativity is an integral part of the design process. Designers purpose to achieve original ideas to demonstrate their ability and unique designs. External stimuli or inspirational inputs play important roles to increase creativity. They can support moments of stimulation. Associations between information from memory and external stimuli can contribute to the creation of new meanings. Designers are widely influenced by their surroundings in daily lives. However, each stimulus may not be the part of a more creative result Even if designers want to utilize stimulus as an inspirational source, somehow it may fixate their mind to its surface features and they may lose potential creative contributions of the source. It is called fixation. There is much research that shows significant evidence of conformity effects across the design problems. -/- The given examples to designers may cause higher-level fixation and lower-level creativity or vice versa. Fixation may occur when example solutions are introduced, on the other hand, the designers may create more original ideas as well. There is a need for research to find ways to avoid fixation traps or reduce their adverse impact. Thus, this research focuses on variables of the given example. -/- The following claims show some research areas remained unclear: (1) Some researchers investigated textual examples as - one of the modalities of representation - but did not focus on forms of textual examples. (2) Much research has been conducted with examples which are selected by the researcher. Nevertheless, designers can also choose or produce their own stimuli. There is not much research on this possibility. In this context, my research focuses on the following two variables through two studies (Study 1 and 2): (1) forms of textual examples; (2) self-construction of textual examples. First, most of the studies in the literature have focused on visual presentation and there is not enough research on the content and form of the text. The study of textual examples has still not been awarded enough attention especially as various forms of text. Some forms of text are as follows: keyword, paragraph, sentence, poem. These observations lead me to the following research question: Which forms of textual example increase creativity and reduce fixation more? (Study 1). -/- Second, most of the studies regarding textual examples have used prose or keywords. The poems have been ignored. However, poems imply more meaning with fewer words. The structure of the poems enables more creative narratives than structure of prose. Because unusual organization of words stimulates the readers and draws their attention. This activates the creative performance of the reader. The surrealist poem is the extreme form of this activation. It is random assemblies with headlines and sentences which is cut from newspapers. Thus, novel meaning networks are formed. The method of creating a surrealist poem offers a new way of getting inspiration. It is termed as self-construction practice by this research. Through this method, designers create their own example from the given one. Reconstruction of the text may increase the creative process and prevent fixations from the given text. This suggestion led me to the following research question: If the designers write their own poem instead of a given poem (as a self-construction practice), can they internalize the textual example? In addition, does it produce more creative and less fixated designs? (Study 2). Two experimental studies were planned to partially answer the research questions, in which novice students of architecture were asked to solve two different design problems, under different conditions. All of the experimental sessions were conducted in a design education studio. The participants produced sketches and added a written explanation relating to their designs. Fluency, flexibility and repetition of key attributes were calculated by the researcher. -/- Originality, practicality, understanding of the task and quality were ranked by judges. Study 1 shows us tendencies of using various textual forms. Distinctions of keywords and of poems have appeared among them. This emphasizes the role of keyword and poem in the design process as inspirational sources and provides many tips for their potential use. The keyword also leads to a high degree of fixation. However, a low degree of fixation is observed when poems are presented as inspirational examples. -/- In Study 2, the self-constructed poem seems to support develop more successful design ideas from many perspectives. In the context of the surrealist poem, writing and reading the surrealist poem trigger the designers’ imagination. At first, the words and lines of poems seem unrelated to each other and designers try to relate them and solve the puzzle of meaning. Hence, novel meaning networks are formed. It indicates that surrealist poems are able to activate the creative performance of the designers. Writing their own surrealist poems ,as a self-construction practice, motivated designers to begin to produce by having fun. Motivated designers have stimulated themselves to produce creative ideas. In other words, the self-construction process may be added to the design process models in the earlier part of the idea generation phase which is called as pre-design and warm-up phase. This earlier phase makes designers highly motivated and they internalized the given examples. -/- Following the conclusions, several implications and recommendations for the design process and education are discussed. (shrink)

This work analyzes the central role of interpretation in non-routine design. Based on this analysis, a theory of computer support for interpretation in cooperative design is constructed. The theory is grounded in studies of design and interpretation. It is illustrated by mechanisms provided by a software substrate for computer-based design environments, applied to a sample task of lunar habitat design. ;Computer support of innovative design must overcome the problem that designers necessarily make extensive use of situated tacit understanding while computers (...) can only store and display explicit representations of information. The automation techniques used for routine design are not applicable: techniques are needed to support creative, tacit human understanding with explicit computer representations. ;The process by which designers transform their tacit preunderstanding into explicit knowledge is termed "interpretation". Interpretation is necessary for solving design problems and collaborating with other designers. Considerable explicit knowledge is thereby generated in the natural course of designing. Often this knowledge includes the most valuable information that can be presented to designers who revisit these design projects or undertake similar projects in the future. If representations of this knowledge have been defined using computer-based design support systems, then the representations can be captured by these systems for the support of subsequent design work. ;A theory of computer support for interpretation in design is presented in three stages. First, the role of interpretation in design is explored by reviewing descriptions of design by Alexander, Rittel, and Schon; by conducting a protocol analysis of lunar habitat design; and by applying Heidegger's philosophy of situated interpretation. Second, this analysis of interpretation is extended to define a theory of computer support. The features of this theory--support for the situated, perspectival, and linguistic characteristics of interpretation--are used to evaluate previous work on software design rationale systems. Third, design principles are discussed for H scERMES, a prototype hypermedia substrate for building computer-based design environments to support interpretation in tasks like lunar habitat design. The hypermedia integrates a perspectives mechanism and an end-user language to capture and modify representations of the design situation, alternative perspectives on design tasks, and terminology for conceptualizing design issues. (shrink)

In recent years, the growing scientific interest in design has led to great advances in our knowledge of authentic design processes. However, as these findings go counter to the existing theories in both design research and cognitive science, they pose a serious challenge for both disciplines: there is a wide gap between what the existing theories predict and what designers actually do. At the same time, there is a growing movement of research on authentic cognitive activities, which has among other (...) things documented the central roles of action and the physical environment in these activities, something that existing cognitive theories have overlooked and cannot properly account for. This creates an explanatory gap analogous to the one found in design. This book aims to fill both of these gaps with a cognitive theory of how designers work. It revolves around the roles of physical activities and working materials in design, and the theory explains at length how these have functions that are essential to cognition. The two threads of design and cognition run in parallel throughout the book: the cognitive theory is applied to design, but is also consistently related to cognition in general. The result is, in back cover text parlance, a 'provocative' account of cognition and human performance, which should be of interest to cognitive scientists as well as to design researchers. (shrink)

This paper links the conjecture that the physical world is a virtual reality to the findings of modern physics. What is usually the subject of science fiction is here proposed as a scientific theory open to empirical evaluation. We know from physics how the world behaves, and from computing how information behaves, so whether the physical world arises from ongoing information processing is a question science can evaluate. A prima facie case for the virtual reality conjecture is presented. If a (...) photon is a pixel on a multi-dimensional grid that gives rise to space, the speed of light could reflect its refresh rate. If mass, charge and energy all arise from processing, the many conservation laws of physics could reduce to a single law of dynamic information conservation. If the universe is a virtual reality, then its big bang creation could be simply when the system was booted up. Deriving core physics from information processing could reconcile relativity and quantum theory, with the former how processing creates the space-time operating system and the latter how it creates energy and matter applications. (shrink)

The relationship between ethics and design is most usually thought of in terms of applied ethics. There are, however, difficulties with this: for instance, conventional ethical stances such as deontology or consequentialism depend on procedures that are inapplicable in the sorts of complex situations which designers commonly face. In any case, it is not as if ethics is a settled body of theory that can act as an authority with which to guide practice. Depending on which theories we refer to, (...) we receive different, and often directly conflicting, guidance. Paralleling the idea that design has its own epistemological foundations, rather than needing to import ideas from science, I propose an alternative way to think of the relation between design and ethics, looking to the ethical questioning implicit in what designers do, and the similarities between those situations which they encounter as a matter of course and those questions with which normative ethics is both most concerned and confused. I suggest that we might reason about ethical questions in design in design’s own terms and, also, that rather than apply ethical theory to design we explore what design can contribute to ethics, inverting the more usual hierarchy. (shrink)

If there is nothing more to architecture than design –and to its attendant thinking processes–than design thinking, then core dimensions of the architectural enterprise from the perspective of (a) production and (b) use have no special character, over and above their counterparts in general design. Yet that does not appear to be true by the lights of architects or design specialists or the public at large. So what is it, at the core or periphery of the discipline or its objects, (...) that makes architecture not design? The ways in which architecture and design constitute artistic enterprises, drawing on and promoting aesthetic interest, differ such that architecture is not, or at least not only, a branch of or variation on design generally construed. (shrink)