The limits of intelligence in design

A new, comprehensive design theory is presented, applicable to all design domains such as engineering and industrial design, architecture, city and regional planning, and, in general, any goal-oriented activity that involves decision making. The design process is analyzed into fundamental activities that are characterized with respect to the nature of knowledge requirements and the degree to which they can be specified and delegated to others, in general, and to computers in particular. The characterization of design problems as ``wicked,`` or ``ill-defined,`` design has been understood as a rational activity, that is ``thinking before acting.`` The new theory presented in this paper suggests that design is ``thinking and feeling while acting,`` supporting the position that design is only partially rational. Intelligence, ``natural`` or ``artificial,`` is only one of two requirements for design, the other being emotions. Design decisions are only partially inferred, that is, they are not entirely the product of reasoning. Rather, design decisions are based on judgment that requires the notion of ``good`` and ``bad,`` which is attributed to feelings, rather than thoughts. The presentation of the design theory extends to the implications associated with the limits of intelligence in design, which, in turn, become constraints on the potential role of computers in design. Many of the current development efforts in computer-aided design violate these constraints, especially in the implementation of expert systems and multi-criterion evaluation models. These violations are identified and discussed in detail. Finally, specific areas for further research and development in computer-aided design are presented and discussed

Microscopic Rocks and Expansive Empires: Investigating Inca Ceramics from Cuzco, Peru

High quality polychrome ceramics are an iconic aspect of Inca material culture. This ‘Cuzco Inca’ pottery appears suddenly in the archaeological record: but it draws upon technological and stylistic aspects of earlier local pottery and we discuss the specifics of how these pre-Inca traits were combined to form the distinctive new state ceramics. Using ceramic petrography, the dominant fabric of Cuzco Inca pottery is compared with those of two pre-Inca wares, Killke and Lucre. Andesite temper, identified in the Lucre and Cuzco Inca fabrics, is compared with samples of andesite from local geological outcrops. This suggests that Lucre pottery was made using similar materials to Cuzco Inca and was a technological precursor. Because these materials and technological knowledge would only have become available to the Inca after their conquest of the Lucre cultural area, this ceramic evidence has important implications for our understanding of Imperial expansion and state intervention in craft-production