Exploration through drawings in the conceptual stages of product design

This paper argues that sequences of exploratory drawings - constructed by designer's movements and decisions - trace systematic and logical paths from ideas to designs. This argument has three parts. First, sequences of exploratory sketches produced by product designers, against the same task specification, are analyzed in terms of the cognitive categories of reinterpretation, emergence and abstraction. Second, a computational model is outlined for the process of exploration through drawing and third the model is applied to elucidate the logic in the sequences of exploratory sketches examined earlier

Where creativity comes from: the social spaces of embodied minds

This paper explores creative design, social interaction and perception. It proposes that creativity at a social level is not a result of many individuals trying to be creative at a personal level, but occurs naturally in the social interaction between comparatively simple minds embodied in a complex world. Particle swarm algorithms can model group interaction in shared spaces, but design space is not necessarily one pre-defined space of set parameters on which everyone can agree, as individual minds are very different. A computational model is proposed that allows a similar swarm to occur between spaces of different description and even dimensionality. This paper explores creative design, social interaction and perception. It proposes that creativity at a social level is not a result of many individuals trying to be creative at a personal level, but occurs naturally in the social interaction between comparatively simple minds embodied in a complex world. Particle swarm algorithms can model group interaction in shared spaces, but design space is not necessarily one pre-defined space of set parameters on which everyone can agree, as individual minds are very different. A computational model is proposed that allows a similar swarm to occur between spaces of different description and even dimensionality

Subjectively interpreted shape dimensions as privileged and orthogonal axes in mental shape space

The shape of an object is fundamental in object recognition but it is still an open issue to what extent shape differences are perceived analytically (i.e., by the dimensional structure of the shapes) or holistically (i.e., by the overall similarity of the shapes). The dimensional structure of a stimulus is available in a primary stage of processing for separable dimensions, although it can also be derived cognitively from a perceived stimulus consisting of integral dimensions. Contrary to most experimental paradigms, the present study asked participants explicitly to analyze shapes according to two dimensions. The dimensions of interest were aspect ratio and medial axis curvature, and a new procedure was used to measure the participants' interpretation of both dimensions (Part I, Experiment 1). The subjectively interpreted shape dimensions showed specific characteristics supporting the conclusion that they also constitute perceptual dimensions with objective behavioral characteristics (Part II): (1) the dimensions did not correlate in overall similarity measures (Experiment 2), (2) they were more separable in a speeded categorization task (Experiment 3), and (3) they were invariant across different complex 2-D shapes (Experiment 4). The implications of these findings for shape-based object processing are discussed

Blending the physical and the digital through conceptual spaces

The rise of the Internet facilitates an ever increasing growth of virtual, i.e. digital spaces which co-exist with the physical environment, i.e. the physical space. In that, the question arises, how physical and digital space can interact synchronously. While sensors provide a means to continuously observe the physical space, several issues arise with respect to mapping sensor data streams to digital spaces, for instance, structured linked data, formally represented through symbolic Semantic Web (SW) standards such as OWL or RDF. The challenge is to bridge between symbolic knowledge representations and the measured data collected by sensors. In particular, one needs to map a given set of arbitrary sensor data to a particular set of symbolic knowledge representations, e.g. ontology instances. This task is particularly challenging due to the vast variety of possible sensor measurements. Conceptual Spaces (CS) provide a means to represent knowledge in geometrical vector spaces in order to enable computation of similarities between knowledge entities by means of distance metrics. We propose an approach which allows to refine symbolic concepts as CS and to ground ontology instances to so-called prototypical members which are vectors in the CS. By computing similarities in terms of spatial distances between a given set of sensor measurements and a finite set of CS members, the most similar instance can be identified. In that, we provide a means to bridge between the physical space, as observed by sensors, and the digital space made up of symbolic representations

The affective notes of represented space as motors of emotional and sensorial response

The following essay proposes to investigate the perceptual and emotional aspects related to the visualization of architectural images. The field of research is limited to a well-defined category: figurative representations as the photographic and digital images of contemporary architecture. In particular, two types will be analysed: the un-built architecture produced by Studio MIR and Bloomimages compared with the photographed built architecture. Using figurative images as a tool of reading, the aim of this work is to identify and classify three types of affective spaces capable of generating a specific kind of perception, producing a sensorial classification of atmosphere for architecture. The study of the Psychology of Art, as well as Aesthetics and Neuroaesthetics can be a valuable tool in understanding the phenomena of the present, considering the marked pictoriality of these images. The application of the analytic methodology, developed in these disciplines, can suggest a new way of "looking" at the project, paying attention to the representation of the atmospheres, which characterizes the experience of felt space

Finding a third archetypal technical system in architectural phenomenology

Within the scope of phenomenology and in order to understand architecture, the role of the technical system is as important as those of the purpose of the building or its form. Mass construction and skeletal construction relate to the architectural theory concepts stereotomy and tectonics respectively, which are suitable for describing the fundamental structural and constructive form of architecture. These two systems became established as man built his first shelters and, so far, represented opposite sides of the building industry’s possibilities. The development of new construction techniques and the relationship between research and technology have a great impact on architecture, although new processing methods and materials may not necessarily cause genuine tectonic changes. The technical dimension of architecture is analysed in this work describing how technical elements are built from materials, and then organised in systems. First, the paper examines the division of technical systems in two categories (massive systems and skeletal systems); then it studies timber’s modern production technologies and subsequently the paper critically analyses how these influence the architectural form. The paper concludes that a third archetypal technical system can be perceived with the assembly of surface elements, joining both the multifunctional aspect of the massive systems and the flexibility of the skeletal systems, this third category being fundamental in phenomenological terms

From Stereogram to Surface: How the Brain Sees the World in Depth

When we look at a scene, how do we consciously see surfaces infused with lightness and color at the correct depths? Random Dot Stereograms (RDS) probe how binocular disparity between the two eyes can generate such conscious surface percepts. Dense RDS do so despite the fact that they include multiple false binocular matches. Sparse stereograms do so even across large contrast-free regions with no binocular matches. Stereograms that define occluding and occluded surfaces lead to surface percepts wherein partially occluded textured surfaces are completed behind occluding textured surfaces at a spatial scale much larger than that of the texture elements themselves. Earlier models suggest how the brain detects binocular disparity, but not how RDS generate conscious percepts of 3D surfaces. A neural model predicts how the layered circuits of visual cortex generate these 3D surface percepts using interactions between visual boundary and surface representations that obey complementary computational rules.Air Force Office of Scientific Research (F49620-01-1-0397); National Science Foundation (EIA-01-30851, SBE-0354378); Office of Naval Research (N00014-01-1-0624