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"The Logic of Architecture is the first comprehensive, systematic, and modern treatment of the logical foundations of design thinking. It provides a detailed discussion of languages of architectural form, their specification by means of formal grammars, their interpretation, and their role in structuring design thinking. Supplemented by over 200 original illustrations, "The Logic of Architecture" reexamines central issues of design theory in the light of recent advances in artificial intelligence, cognitive science, and the theory of computation. The richness of this approach permits sympathetic and constructive analysis of positions developed by a wide range of theorists and philosophers from Socrates to the present. Mitchell first considers how buildings may be described in words and shows how such descriptions may be formalized by the notation of first-order predicate calculus. This leads to the idea of a critical language for speaking about the qualities of buildings. Turning to the question of representation by drawings and scale models, Mitchell then develops the notion of design worlds that provide graphic tokens which can be manipulated according to certain grammatical rules. In particular, he shows how domains of graphic compositions possible in a design world may be specified by formal shape grammars. Design worlds and critical languages are connected by showing how such languages may be interpreted in design worlds. Design processes are then viewed as computations in a design world with the objective of satisfying predicates of form and function stated in a critical language. William J. Mitchell is G. Ware and Edythe M. Travelstead Professor of Architecture at HarvardUniversity and a founder of the Computer-Aided Design Group in Los Angeles. Among the books he has authored or coauthored are "The Poetics of Gardens, The Art of Computer Graphics Programming, and "Computer-Aided Architectural Design."
What is the logic of design process? Departing from this question, Tiago da Costa e Silva investigates the characteristic feature of every projective activity, for instance, in architecture, design, engineering design, and in the arts. In opposition to predominant views that understand design processes as mechanical and deterministic, this study, with the help of the semiotics of Charles S. Peirce, characterizes design activities as continuous and serendipitous interplays of esthetic and abductive processes that define rules and manifest forms. Tiago da Costa e Silva concludes that invention and discovery, manifested in the form of processes of abduction, actively pervade every development in any given context of design process.
During the last 30 years, Advanced Architecture has consolidated an interactive and informational logic that differs from that of Modernity and Postmodernity. This logic is threefold; it is modulated through three coexisting protocols -modes of action- whose peaks of intensity occur in three different decades: Conformative Protocols (1990-2000), Distributive Protocols (2000-2010) and Expansive Protocols (2010-2020). This work proposes a threefold cultural narrative whose interactive and informational logic differs from that of modernity and postmodernity. It positions three different ethos by critically approaching the architectural side of a cultural mutation that has been affecting the Western experimental areas of knowledge and practice since the end of the last century. A transformative process constituted by a constellation of transdisciplinary manifestations, accelerations, turns, shortcuts and clusterizations that by no means can be read under one single epistemological umbrella. In this sense, rather than approaching the practice of architecture focusing on its disciplinary inner specificity, this book approaches the research of experimental architecture focusing on its extra-disciplinary entanglements. It argues that a vast multiplicity of fields of knowledge participates in a cultural endeavour modulated through three protocols -forms of action- that singularize three decades: Conformative Protocols (1990-2000), Distributive Protocols (2000-2010) and Expansive Protocols (2010-2020). These three periods shouldn't be read as three hermetic and concatenated monades, but as three different modulations of the same narrative, that is, as three overlapping and coexisting systems whose peaks of intensity occur in three different decades. However, the main purpose of this book is not limited to unveiling the ethos of these three conjugations. It also aims at using this framework as a "time-field", a narrative map that moves from the classificatory to the cartographical in order to vectorize the last 30 years of experimental architecture. In this sense, this book argues that this threefold set of protocols represents the progressive attempt to constitute critical interiorities "looking for" and "produced through" interactions that are increasingly more intimate and whose agents are increasingly more diverse. A tendency oriented towards the consolidation of an "intimacy between strangers" that highly resonates with the cultural and technological landscape in which experimental architecture operates.
"In recent years, design has grown in importance for economic and technical development projects. This increase is in turn associated with very topical social issues. Yet, how can this dimension of design, i.e. "social design", be researched and made visible? This was the question that was tackled by the authors of this book to shed light on the specific rationalities of the processes and methods of design. Based on eight selected projects of applied design at the Zurich University of the Arts, from the areas of Industrial design, Interaction design and Game design, various networks of heterogeneous actors are described and discussed from various academic perspectives. The investigated design productions represent an intrinsic logic than can neither be limited to standardized sets of methods within the discipline nor to established methods outside it. At the same time, decoding the complexity of singular design processes contributes to the advancement of the formulation of design theory."--Site Web de l'éditeur.
Have you ever puzzled over how to perform Boolean logic at the atomic scale? Or wondered how you can carry out more general calculations in one single molecule or using a surface dangling bond atomic scale circuit? This volume gives you an update on the design of single molecule devices, such as recitfiers, switches and transistors, more advanced semi-classical and quantum boolean gates integrated in a single molecule or constructed atom by atom on a passivated semi-conductor surface and describes their interconnections with adapted nano-scale wiring. The main contributors to the field of single molecule logic gates and surface dangling bond atomic scale circuits theory and design, were brought together for the first time to contribute on topics such as molecule circuits, surface dangling bond circuits, quantum controlled logic gates and molecular qubits. Contributions in this volume originate from the Barcelona workshop of the AtMol conference series, held from January 12-13 2012.
Floppy Logic is an exploration into the ‘architecture’ of fashion and textiles, and how the concepts, aesthetics, techniques and construction of this architecture might be understood and used to design and fabricate objects and space differently. A key concept here is the Floppy, defined as a quality in material that requires extraneous support to produce architecture. Floppy generally refers to fabric but can also refer to any material that fails when there is not enough support, as is the case with sheet materials when the span between supports exceeds a certain length. Floppy Logic uses a material palette that has been selected for its aesthetic and tactile nature. These materials are typically used superficially and do not have structural qualities to allow them to be applied to the scale of buildings. By exploring form through material play, as fashion designers do with draping fabric over a body, this book expands on approaches to architecture that consider form, structure, skin and enclosure as separate steps.
You can use this book to design a house for yourself with your family; you can use it to work with your neighbors to improve your town and neighborhood; you can use it to design an office, or a workshop, or a public building. And you can use it to guide you in the actual process of construction. After a ten-year silence, Christopher Alexander and his colleagues at the Center for Environmental Structure are now publishing a major statement in the form of three books which will, in their words, "lay the basis for an entirely new approach to architecture, building and planning, which will we hope replace existing ideas and practices entirely." The three books are The Timeless Way of Building, The Oregon Experiment, and this book, A Pattern Language. At the core of these books is the idea that people should design for themselves their own houses, streets, and communities. This idea may be radical (it implies a radical transformation of the architectural profession) but it comes simply from the observation that most of the wonderful places of the world were not made by architects but by the people. At the core of the books, too, is the point that in designing their environments people always rely on certain "languages," which, like the languages we speak, allow them to articulate and communicate an infinite variety of designs within a forma system which gives them coherence. This book provides a language of this kind. It will enable a person to make a design for almost any kind of building, or any part of the built environment. "Patterns," the units of this language, are answers to design problems (How high should a window sill be? How many stories should a building have? How much space in a neighborhood should be devoted to grass and trees?). More than 250 of the patterns in this pattern language are given: each consists of a problem statement, a discussion of the problem with an illustration, and a solution. As the authors say in their introduction, many of the patterns are archetypal, so deeply rooted in the nature of things that it seemly likely that they will be a part of human nature, and human action, as much in five hundred years as they are today.