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References to past designs
Designing by adaptation is almost invariably a dominantambiguity feature of designing, and references to past designs are ubiquitous in design discourse. Object references serve as indices into designers' stocks of design concepts, in which memories for concrete embodiments and exemplars are tightly bound to solution principles. Thinking and talking by reference to past designs serves as a way to reduce the overwhelming complexity of complex design tasks by enabling designers to use parsimonious mental representations to which details can be added as needed. However object references can be ambiguous, and import more of the past design than is intended or may be desirable
A semantic-based platform for the digital analysis of architectural heritage
This essay focuses on the fields of architectural documentation and digital representation. We present a research paper concerning the development of an information system at the scale of architecture, taking into account the relationships that can be established between the representation of buildings (shape, dimension, state of conservation, hypothetical restitution) and heterogeneous information about various fields (such as the technical, the documentary or still the historical one). The proposed approach aims to organize multiple representations (and associated information) around a semantic description model with the goal of defining a system for the multi-field analysis of buildings
Space is the machine, part four: theoretical syntheses
Part IV of the book, âTheoretical Synthesesâ, begins to draw together some of the questions raised in Part I, the regularities shown in Part II and the laws proposed in Part III, to suggest how the two central problems in architectural theory, namely the form-function problem and the form-meaning problem, can be reconceptualised. Chapter 10, âSpace is the machineâ, reviews the form-function theory in architecture and attempts to establish a pathology of its formulation: how it came to be set up in such a way that it could not be solved. It then proposes how the configuration paradigm permits a reformulation, through which we can not only make sense of the relation between form and function in buildings, but also we can make sense of how and why buildings, in a powerful sense are âsocial objectsâ and in fact play a powerful role in the realisation and sustaining of human society.
Finally, in Chapter 11, âThe reasoning artâ, the notion of configuration is applied to the study of what architects do, that is, design. Previous models of the design process are reviewed, and it is shown that without knowledge of configuration and the concept of the non-discursive, we cannot understand the internalities of the design process. A new knowledge-based model of design is proposed, with configuration at its centre. It is argued from this that because design is a configurational process, and because it is the characteristic of configuration that local changes make global differences, design is necessarily a top down process. This does not mean that it cannot be analysed, or supported by research. It shows however that only configurationally biased knowledge can really support the design
Introduction
Space is the machine | Bill Hillier Space Syntax
Introduction
process, and this, essentially, is theoretical knowledge. It follows from this that attempts to support designers by building methods and systems for bottom up construction of designs must eventually fail as explanatory systems. They can
serve to create specific architectural identities, but not to advance general architectural understanding.
In pursuing an analytic rather than a normative theory of architecture, the book might be thought by some to have pretensions to make the art of architecture into a science. This is not what is intended. One effect of a better scientific understanding of architecture is to show that although architecture as a phenomenon is capable of considerable scientific understanding, this does not mean that as a practice architecture is not an art. On the contrary, it shows quite clearly why it is an art and what the nature and limits of that art are. Architecture is an art because, although in key respects its forms can be analysed and understood by scientific means, its forms can only be prescribed by scientific means in a very restricted sense. Architecture is law governed but it is not determinate. What is governed by the laws is not the form of individual buildings but the field of possibility within which the choice of form is made. This means that the impact of these laws on the passage from problem statement to solution is not direct but indirect. It lies deep in the spatial and physical forms of buildings, in their
genotypes, not their phenotypes.
Architecture is therefore not part art, and part science, in the sense that it has both technical and aesthetic aspects, but is both art and science in the sense that it requires both the processes of abstraction by which we know science and the processes of concretion by which we know art. The architect as scientist and as theorist seeks to establish the laws of the spatial and formal materials with which the architect as artist then composes. The greater scientific content of architecture over art is simply a function of the far greater complexity of the raw materials of space and form, and their far greater reverberations for other aspects of life, than any materials that an artist uses. It is the fact that the architect designs with the spatial stuff of living that builds the science of architecture into the art of architecture.
It may seem curious to argue that the quest for a scientific understanding of architecture does not lead to the conclusion that architecture is a science, but nevertheless it is the case. In the last analysis, architectural theory is a matter of understanding architecture as a system of possibilities, and how these are restricted by laws which link this system of possibilities to the spatial potentialities of human life. At this level, and perhaps only at this level, architecture is analogous to language. Language is often naĂŻvely conceptualised as a set of words and meanings, set out in a dictionary, and syntactic rules by which they may be combined into meaningful sentences, set out in grammars. This is not what language is, and the laws that govern language are not of this kind. This can be seen from the simple fact that if we take the words of the dictionary and combine them in grammatically correct sentences, virtually all are utterly meaningless and do not count as legitimate sentences. The structures of language are the laws which restrict the combinatorial possibilities of words, and through these restrictions construct the sayable and the meaningful. The laws of language do not therefore tell us what to say, but prescribe the structure and limits of the sayable. It is within these limits that we use language as the prime means to our individuality and creativity.
In this sense architecture does resemble language. The laws of the field of architecture do not tell designers what to do. By restricting and structuring the field of combinatorial possibility, they prescribe the limits within which architecture is possible. As with language, what is left from this restrictive structuring is rich beyond imagination. Even so, without these laws buildings would not be human products, any more than meaningless but syntactically correct concatenations of words are human sentences.
The case for a theoretical understanding of architecture then rests eventually not on aspiration to philosophical or scientific status, but on the nature of architecture itself. The foundational proposition of the book is that architecture is an inherently theoretical subject. The very act of building raises issues about the relations of the form of the material world and the way in which we live in it which (as any archaeologist knows who has tried to puzzle out a culture from material remains) are unavoidably both philosophical and scientific. Architecture is the most everyday, the most enveloping, the largest and the most culturally determined human artefact. The act of building implies the transmission of cultural conventions answering these questions through custom and habit. Architecture is their rendering explicit, and their transmutation into a realm of innovation and, at its best, of art. In a sense, architecture is abstract thought applied to building, even therefore in a sense theory applied to building. This is why, in the end, architecture must have
analytic theories
Digital information support for concept design
This paper outlines the issues in effective utilisation of digital resources in conceptual design. Access to appropriate information acts as stimuli and can lead to better substantiated concepts. This paper addresses the issues of presenting such information in a digital form for effective use, exploring digital libraries and groupware as relevant literature areas, and argues that improved integration of these two technologies is necessary to better support the concept generation task. The development of the LauLima learning environment and digital library is consequently outlined. Despite its attempts to integrate the designers' working space and digital resources, continuing issues in library utilisation and migration of information to design concepts are highlighted through a class study. In light of this, new models of interaction to increase information use are explored
Innovating Toward Excellence: Education Entrepreneurs and the Transformation of Public Education
Summarizes discussions among education entrepreneurs, funders, policy makers, and experts at a May 2009 summit on innovations in ideas, processes, and products for reform. Includes a case study review of a successful turnaround of a failing school
The teacher as action researcher : Using technology to capture pedagogic form
The paper argues that we make best use of learning technologies if we begin with an understanding of educational problems, and use this analysis to target the solutions we should be demanding from technology. The focus is to address the issue from the perspective of teachers and lecturers â the 'teaching community', and to consider how they could become the experimental innovators and reflective practitioners who will use technology well. Teachers could become 'action researchers', collaborating to produce their own development of knowledge about teaching with technology. For this to be possible, they must be able to share that knowledge, and the paper proposes the use of an online learning activity management system (LAMS) as a way of capturing and sharing the pedagogic forms teachers design. An action research approach, like all research, needs a theoretical framework from which to challenge practice, and paper shows how teachers could use the Conversational Framework to design and test an optimally effective learning experience. Examples of 'generic' learning designs illustrate how such approach can help the teaching community rethink their teaching, collectively, and embrace the best of conventional and digital methods. In this way they will be more likely to harness technology to the needs of education, rather than simply search for the problems to which the latest technology is a solution
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Business Model Innovation: How Iconic Business Models Emerge
Despite ample research on the topic of business model innovation, little is known about the cognitive processes whereby some innovative business models gain the status of iconic representations of particular types of firms. This study addresses the question: How do iconic business models emerge? In other words: How do innovative business models become prototypical exemplars for new categories of firms? We focus on the case of Airbnb, and analyze how six mainstream business media publications discussed Airbnb between 2008 and 2013. The cognitive process whereby Airbnbâs business model became the iconic business model for the sharing economy involved three phases. First, these publications drew on multiple analogies to try to assimilate Airbnbâs innovative business model into their existing system of categories. Second, they developed a more nuanced understanding of Airbnbâs business model. Finally, they established it as the prototypical exemplar of a new type of organization. We contribute to business model research by providing an elaborated definition of the notion of the iconic business model which is rooted in social categorization research, and by theorizing the cognitive process that underpins the emergence of iconic business models. Our study also complements research on the role of analogical reasoning in business model innovation. Finally, we complement the market categorization literature by documenting a case of the emergence of a prototypical exemplar
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Models for Learning (Mod4L) Final Report: Representing Learning Designs
The Mod4L Models of Practice project is part of the JISC-funded Design for Learning Programme. It ran from 1 May â 31 December 2006. The philosophy underlying the project was that a general split is evident in the e-learning community between development of e-learning tools, services and standards, and research into how teachers can use these most effectively, and is impeding uptake of new tools and methods by teachers. To help overcome this barrier and bridge the gap, a need is felt for practitioner-focused resources which describe a range of learning designs and offer guidance on how these may be chosen and applied, how they can support effective practice in design for learning, and how they can support the development of effective tools, standards and systems with a learning design capability (see, for example, Griffiths and Blat 2005, JISC 2006). Practice models, it was suggested, were such a resource.
The aim of the project was to: develop a range of practice models that could be used by practitioners in real life contexts and have a high impact on improving teaching and learning practice.
We worked with two definitions of practice models. Practice models are:
1. generic approaches to the structuring and orchestration of learning activities. They express elements of pedagogic principle and allow practitioners to make informed choices (JISC 2006)
However, however effective a learning design may be, it can only be shared with others through a representation. The issue of representation of learning designs is, then, central to the concept of sharing and reuse at the heart of JISCâs Design for Learning programme. Thus practice models should be both representations of effective practice, and effective representations of practice. Hence we arrived at the project working definition of practice models as:
2. Common, but decontextualised, learning designs that are represented in a way that is usable by practitioners (teachers, managers, etc).(Mod4L working definition, Falconer & Littlejohn 2006).
A learning design is defined as the outcome of the process of designing, planning and orchestrating learning activities as part of a learning session or programme (JISC 2006).
Practice models have many potential uses: they describe a range of learning designs that are found to be effective, and offer guidance on their use; they support sharing, reuse and adaptation of learning designs by teachers, and also the development of tools, standards and systems for planning, editing and running the designs.
The project took a practitioner-centred approach, working in close collaboration with a focus group of 12 teachers recruited across a range of disciplines and from both FE and HE. Focus group members are listed in Appendix 1. Information was gathered from the focus group through two face to face workshops, and through their contributions to discussions on the project wiki. This was supplemented by an activity at a JISC pedagogy experts meeting in October 2006, and a part workshop at ALT-C in September 2006. The project interim report of August 2006 contained the outcomes of the first workshop (Falconer and Littlejohn, 2006).
The current report refines the discussion of issues of representing learning designs for sharing and reuse evidenced in the interim report and highlights problems with the concept of practice models (section 2), characterises the requirements teachers have of effective representations (section 3), evaluates a number of types of representation against these requirements (section 4), explores the more technically focused role of sequencing representations and controlled vocabularies (sections 5 & 6), documents some generic learning designs (section 8.2) and suggests ways forward for bridging the gap between teachers and developers (section 2.6).
All quotations are taken from the Mod4L wiki unless otherwise stated
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