Christopher Alexander

Bio: Christopher Alexander is an academic researcher from Cincinnati Children's Hospital Medical Center. The author has contributed to research in topics: Architecture & Humanism. The author has an hindex of 25, co-authored 56 publications receiving 14595 citations. Previous affiliations of Christopher Alexander include Harvard University.

A Pattern Language: Towns, Buildings, Construction

Abstract: 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.

Notes on the Synthesis of Form

Abstract: Every design problem begins with an effort to achieve fitness between two entities: the form in question and its context. The form is the solution to the problem; the context defines the problem. We want to put the context and the form into effortless contact or frictionless coexistence, i.e., we want to find a good fit. For a good fit to occur in practice, one vital condition must be satisfied. It must have time to happen. In slow-changing, traditional, unselfconscious cultures, a form is adjusted soon after each slight misfit occurs. If there was good fit at some stage in the past, no matter how removed, it will have persisted, because there is an active stability at work. Tradition and taboo dampen and control the rate of change in an unselfconscious culture's designs. It is important to understand that the individual person in an unselfconscious culture needs no creative strength. He does not need to be able to improve the form, only to make some sort of change when he notices a failure. The changes may not always be for the better; but it is not necessary that they should be, since the operation of the process allows only the improvements to persist. Unselfconscious design is a process of slow adaptation and error reduction. In the unselfconscious process there is no possibility of misconstruing the situation. Nobody makes a picture of the context, so the picture cannot be wrong. But the modern, selfconscious designer works entirely from a picture in his mind - a conceptualization of the forces at work and their interrelationships - and this picture is almost always wrong. To achieve in a few hours at the drawing board what once took centuries of adaptation and development, to invent a form suddenly which clearly fits its context - the extent of invention necessary is beyond the individual designer. A designer who sets out to achieve an adaptive good fit in a single leap is not unlike the child who shakes his glass-topped puzzle fretfully, expecting at one shake to arrange the bits inside correctly. The designer's attempt is hardly as random as the child's is; but the difficulties are the same. His chances of success are small because the number of factors which must fall simultaneously into place is so enormous. The process of design, even when it has become selfconscious, remains a process of error-reduction. No complex system will succeed in adapting in a reasonable amount of time or effort unless the adaptation can proceed component by component, each component relatively independent of the others. The search for the right components, and the right way to build the form up from these components, is the greatest challenge faced by the modern, selfconscious designer. The culmination of the modern designer's task is to make every unit of design both a component and a system. As a component it will fit into the hierarchy of larger components that are above it; as a system it will specify the hierarchy of smaller components of which it itself is made.

The Timeless Way of Building

Abstract: An apparatus for investigating the course of fast chemical reactions, which are initiated in a liquid chemical system under investigation by an external perturbation, e.g. a steep temperature rise (temperature jump). The apparatus comprises first and second light paths conveying a probing light beam and a sense light beam, respectively, and an optical system of extremely high aperture which allows a wide variety of types of measurements, including absorption, fluorescense, fluorescense polarization, and the like with a high signal-to-noise ratio even of small sample concentrations.

A City is Not a Tree

Abstract: In order to define such structures, let me first define the concept of a set. A set is a collection of elements which for some reason we think of as belonging together. Since, as designers, we are concerned with the physical living city and its physical backbone, we must naturally restrict ourselves to considering sets which are collections of material elements such as people, blades of grass, cars, molecules, houses, gardens, water pipes, the water molecules in them etc.

Design Patterns: Elements of Reusable Object-Oriented Software

Abstract: The book is an introduction to the idea of design patterns in software engineering, and a catalog of twenty-three common patterns. The nice thing is, most experienced OOP designers will find out they've known about patterns all along. It's just that they've never considered them as such, or tried to centralize the idea behind a given pattern so that it will be easily reusable.

Design of Everyday Things

Abstract: Revealing how smart design is the new competitive frontier, this innovative book is a powerful primer on how--and why--some products satisfy customers while others only frustrate them.

Skills, rules, and knowledge; signals, signs, and symbols, and other distinctions in human performance models

Abstract: The introduction of information technology based on digital computers for the design of man-machine interface systems has led to a requirement for consistent models of human performance in routine task environments and during unfamiliar task conditions. A discussion is presented of the requirement for different types of models for representing performance at the skill-, rule-, and knowledge-based levels, together with a review of the different levels in terms of signals, signs, and symbols. Particular attention is paid to the different possible ways of representing system properties which underlie knowledge-based performance and which can be characterised at several levels of abstraction-from the representation of physical form, through functional representation, to representation in terms of intention or purpose. Furthermore, the role of qualitative and quantitative models in the design and evaluation of interface systems is mentioned, and the need to consider such distinctions carefully is discussed.

The Role of Product Architecture in the Manufacturing Firm

Abstract: Product architecture is the scheme by which the function of a product is allocated to physical components. This paper further defines product architecture, provides a typology of product architectures, and articulates the potential linkages between the architecture of the product and five areas of managerial importance: (1) product change; (2) product variety; (3) component standardization; (4) product performance; and (5) product development management. The paper is conceptual and foundational, synthesizing fragments from several different disciplines, including software engineering, design theory, operations management and product development management. The paper is intended to raise awareness of the far-reaching implications of the architecture of the product, to create a vocabulary for discussing and addressing the decisions and issues that are linked to product architecture, and to identify and discuss specific trade-offs associated with the choice of a product architecture.