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Metaphorical Concepts and Framework for Designing Novel Approaches to Interactive Buildings
Abstract
Metaphor is a design tool that can support designers in forming new design concepts during the design process. In addition to supporting creativity in designing, metaphorical references assist users in perceiving affordances of novel designs. Recent advances in interaction technologies are leading to a new era in the design of interactive buildings. Designing interactive buildings requires the integration of traditional building design and human-computer interaction (HCI) techniques. We present a metaphorical approach, including FBS and HCI frameworks, that provides a foundation for re-conceptualizing buildings as an interactive experience and supports designers in creative thinking about human building interaction. This metaphorical framework can establish new design spaces for interactive buildings. We present the results of a study on the effect of this metaphorical framework as a design tool. The study compares designers’ behavior and cognitive issues while engaged in an interactive building design task with and without a metaphorical prompt.
... The difficulty in comprehending formalistically ubiquitous computing is also reflected in the increasing role of metaphors in human-computer interaction (HCI) courses as a means to understand unfamiliar concepts in terms of familiar ones [42]. Intelligent buildings, today, are metaphorically seen as "friends," "companions," or "assistants" with a meticulous effort to conceal any visible evidence of technology from their clean surfaces [43]. This attitude is in contrast to the prevailing tendency in architecture design studios to formalistically express function, materials, and tectonic clarity [44]. ...
The integration of digital media into the curricula of design and architecture schools raises important pedagogical questions as to what kind of technical skills and what kind of critical thinking should designers of future interactive systems have and how these skills and mindsets should be cultivated. This paper argues for a pedagogical model for the design of intelligent environments that sees designers and architects as engineers, humanists, system thinkers, and researchers. The paper presents these ideas through the case of a new graduate course that introduces design, prototyping, programming and evaluation of physical telepresence media for individual or collective interactions with and through the built environment. The course was offered as a core course to a dual MSc degree program in Architecture and Information Technology and it aimed to cultivate three skills: an engineering ingenuity; a critical understanding of information and computation; and a technical skillset of network-based communications for connecting people, objects, and places. The discussion concludes with teaching experiences and future directions for development.
We describe the design of an interactive concrete floor display for public spaces and discuss its implementation and areas of application. The primary purpose of our system is to provide new forms of collaborative interaction in long-term installations in both indoor and outdoor spaces. Our design is an expandable system of interconnected tiles, which control an array of RGB Light-Emitting Diodes (LEDs) based on user input. The LEDs are built into the tiles and arranged in a manner that simulates pixels on a computer screen, providing a natural visualization mechanism. Each tile acts as an independent node in a network, where motion sensors trigger specific actions and provide interactivity to the surface. A series of applications are illustrated, including promotional advertising and interactive games. The system was installed and evaluated on a university campus for four weeks where hundreds of visitors successfully interacted with the floor.
As is the case in every other field of art, the purpose of architecture is to reveal a unique situation which has never been experienced before and broaden the feelings, thoughts and imagination of human beings. Considering that the concepts of identity and uniqueness are close enough to be used for the same meaning, the main purpose of architecture can be defined as designing a building which has a certain identity. Metaphors seem to be quite beneficial instruments compared to several other methods and approaches applied by architects in order to achieve this purpose. Design problems are defined as "wicked" problems which are too complex to be solved with completely linear, rational, logical methods and with a certain algorithm and require considering both objective and subjective aspects of the problem at the same time and with creativity. Metaphors, defined as "imaginative rationality" appear to be quite appropriate tools for solving such problems since they unite rationality and imagination. This paper has two interconnected purposes. The primary purpose is to determine the effective role played by metaphors during the design processes of distinguished and referred buildings which have strong identities both in the past and in recent architecture. The secondary purpose is to indicate the capability of a design approach based on metaphors to meet the demand for architecture with identity and overcome the increasing monotonousness in the man-made environment.
In this paper we look at interactive architecture from a design theoretical/methodological point of view. In particular, we aim to outline how principles from agent theory can form a theoretical foundation for conception and following the design of interactive architecture. Interactive architecture is a special case of responsive buildings—buildings that can intelligently react to, or even anticipate, change. Interactive buildings have an internal representation of the user on which basis they reach decisions for the manipulation of the outside world. For the design of responsive and interactive buildings it is necessary to take change into account throughout the whole design process. This requires rethinking our notions about architecture and design processes. We define an agent, and show how it matches for objects, with increasing degrees of responsiveness. Agents by themselves are not enough to design interactive buildings—they also need to have a behavior defined. For this purpose we define attitudes as mode of operation for agents.
Derivational analogy, a method of solving problems based on the transfer of past experience to new problem situations, is discussed in the context of other general approaches to problem solving. The experience transfer process consists of recreating lines of reasoning, including decision sequences and accompanying justifications, that proved effective in solving particular problems requiring similar initial analysis. The role of derivational analogy in case-based reasoning and in automated expertise acquisition is discussed. (Author)
This paper extends the function–behaviour–structure (FBS) framework, which proposed eight fundamental processes involved in designing. That framework did not explicitly account for the dynamic character of the context in which designing takes place, described by the notion of situatedness. This paper describes this concept as a recursive interrelationship between different environments, which, together with a model of constructive memory, provides the foundation of a situated FBS framework. The eight fundamental processes are then reconstructed within this new framework to represent designing in a dynamic world.
Metaphor is often seen as a mode of creative thinking or as a means of fostering creativity. However, little work has studied creative generation of novel metaphors. This paper explores the use of computational metaphor identification (CMI) to foster creative generation of novel metaphors. CMI is a technique for analyzing textual corpora to identify potential conceptual metaphors. Drawing those metaphors to readers' attention can provide an opportunity to consider alternatives to current metaphors. This paper describes results from a study using CMI to foster metaphorical creativity in the context of science education. The results show that CMI leads to more creative mappings within metaphors. The key contributions of this paper are a demonstration that CMI can be used to foster more original metaphorical reasoning, and, more generally, implications for the study of metaphorical creativity.
This article commences with an elaboration of models of design as a process. It then introduces and describes a knowledge representation schema for design called design prototypes. This schema supports the initiation and continuation of the act of designing. Design prototypes are shown to provide a suitable framework to distinguish routine, innovative and creative design
This paper describes the concept and elements of sentient buildings. A sentient building is one that possesses a sensor-supported, dynamic, and self-updating internal representation of its own components, systems, and processes. It can use this representation, amongst other things, toward the full or partial self-regulatory determination of its indoor-environmental status.KeywordsSimulation ApplicationControl EntityBuilding ControlIlluminance LevelDevice ControllerThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.
In this paper we describe results from testing coMotion, a shape-changing bench, in three different contexts: a concert hall foyer, an airport departure hall and a shopping mall. We have gathered insights from more than 120 people, with regard to how users experience and make sense of the bench's shape changing capability. The paper applies McCarthy and Wright's six different sense making processes (anticipating, connecting, interpreting, reflecting, appropriating and recounting) as an instrument to analyse people's experience with shape-changing furniture in the wild. The paper also introduces exploring as a seventh sense making process. Based on this analysis, the paper points to three relevant aspects when designing shape-changing artefacts for the wild, namely: 1) Affordance of shape-changing interfaces, 2) Transitions between background and foreground and 3) Interpreting physically dynamic objects.
Do not go gentle into that good night.
– Dylan Thomas
Death is the mother of beauty.
– Wallace Stevens, “Sunday Morning”
Introduction
These famous lines by Thomas and Stevens are examples of what classical theorists, at least since Aristotle, have referred to as metaphor: instances of novel poetic language in which words like “mother,” “go,” and “night” are not used in their normal everyday sense. In classical theories of language, metaphor was seen as a matter of language, not thought. Metaphorical expressions were assumed to be mutually exclusive with the realm of ordinary everday language: everyday language had no metaphor, and metaphor used mechanisms outside the realm of everyday conventional language.
The classical theory was taken so much for granted over the centuries that many people didn't realize that it was just a theory. The theory was not merely taken to be true, but came to be taken as definitional. The word “metaphor” was defined as a novel or poetic linguistic expression where one or more words for a concept are used outside of their normal conventional meaning to express a “similar” concept.
But such issues are not matters for definitions; they are empirical questions. As a cognitive scientist and a linguist, one asks: what are the generalizations governing the linguistic expressions referred to classically as “poetic metaphors?” When this question is answered rigorously, the classical theory turns out to be false.
An abstract is not available.
A metaphor can often create novel features in an object or a
situation. This phenomenon has been particularly hard to account for
using amodal symbol systems: although highlighting and downplaying can
explain the shift of focus, it cannot explain how entirely new features
can come about. We suggest here that the dynamism of perceptual symbol
systems, particularly the notion of simulator, provides an elegant
account of the creativity of metaphor. The elegance lies in the idea
that the creation of new features by a metaphor proceeds in the same way
as the creation of regular features in a perceptual symbol.
Reissued as The Design of Everyday Things in 1990. Author's website : http://www.jnd.org
Metaphor in architecture involves two distinct paradigms of ideation and visualization: architecture as a virtual metaphor of an idea and virtual models of architecture as metaphors of an architectural intention or vision. Digital media is a powerful vehicle for the generation and expression of both paradigms. The dominant applications of digital media in architecture are drafting and computer simulations as virtual constructs of an architectural intention. This paper will focus on the us e of digital media and ideation, a design process which uses metaphor to link idea and form early in the design process.
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