Dissertation•
Une approche paradigmatique de la conception architecturale des systèmes artificiels complexes
19 Nov 2018-
TL;DR: L'architecture systeme cherche a se distinguer de son domaine d'origine, l'ingenierie systeme, en devenant un domaine emergent, d'etre reconnue en tant que science ou discipline a proprement parler, sa pratique est de plus en plus repandue de nos jours.
Abstract: L'architecture systeme cherche a se distinguer de son domaine d'origine, l'ingenierie systeme, en devenant un domaine emergent. Loin d'etre reconnue en tant que science ou discipline a proprement parler, sa pratique est de plus en plus repandue de nos jours. Cependant, cette pratique reste encore peu formalisee et peu enseignee, faute d'un corpus de connaissances, de techniques ou de demarches etabli et accessible.Notre these contribue a combler ce manque en proposant un paradigme de la conception architecturale des systemes artificiels complexes. Ce dernier est construit en se basant sur des paradigmes existants, en les combinant, puis en les completant. Il vise a doter l'architecte de systemes artificiels complexes d'un cadre operant, voire performatif. Il se traduit par une structuration de la demarche de conception en quatre niveaux.Un niveau dit archetypal condense les grands principes de toute demarche de conception architecturale de systemes artificiels complexes. Ces principes sont derives de diverses demarches deja appliquees, principalement a la conception de systemes ou de produits, mais egalement a la conception architecturale de bâtiments.Un niveau dit general repose sur le principe d'une partition present-futur, se differenciant en cela des approches d'ingenierie qui s'appuient traditionnellement sur une dichotomie probleme-solution. L'idee preponderante tient dans l'assentiment que lorsqu'un architecte concoit, il ne resout pas de problemes, mais il imagine des futurs possibles et plausibles, necessitant qu'il percoive le present. Cette vision impacte directement la nature des artefacts sur lesquels il travaille. Nous proposons ensuite d'agreger ces artefacts en des modeles, refletant soit sa perception du present, soit son elaboration des futurs, evoluant suivant des processus identifies.Un niveau dit particulier a pour objectif de permettre la narration d'une conception particuliere. Nous proposons pour cela une notation de la conception. Elle s'appuie sur un certain nombre de mecanismes elementaires, dont celui de l'enchainement divergence-convergence, que nous nommons mecanisme de respiration de la conception architecturale.Un niveau dit de boite a outils n'est pas traite dans le cadre de cette these. Il comprendrait les differentes operations cognitives necessaires a l'architecte pour accomplir sa tâche de conception (abstraction, questionnement, jugement, comparaison, decision, etc.)L'approche proposee est illustree par un exemple de conception architecturale d'un systeme complexe : « rendre une ville plus sure » (connu dans la litterature anglo-saxonne comme Safe City).
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01 Jan 1966
TL;DR: Koestler as mentioned in this paper examines the idea that we are at our most creative when rational thought is suspended, for example, in dreams and trancelike states, and concludes that "the act of creation is the most creative act in human history".
Abstract: While the study of psychology has offered little in the way of explaining the creative process, Koestler examines the idea that we are at our most creative when rational thought is suspended--for example, in dreams and trancelike states. All who read The Act of Creation will find it a compelling and illuminating book.
2,201 citations
08 Nov 2014
TL;DR: A knowledge representation schema for design called design prototypes is introduced and described to provide a suitable framework to distinguish routine, innovative, and creative design.
Abstract: A prevalent and pervasive view of designing is that it can be modeled using variables and decisions made about what values should be taken by these variables. The activity of designing is carried out with the expectation that the designed artifact will operate in the natural world and the social world. These worlds impose constraints on the variables and their values; so, design could be described as a goal-oriented, constrained, decision- making activity. However, design distinguish- es itself from other similarly described activities not only by its domain but also by additional necessary features. Designing involves exploration, exploring what variables might be appropriate. The process of explo- ration involves both goal variables and deci- sion variables. In addition, designing involves learning: Part of the exploration activity is learning about emerging features as a design proceeds. Finally, design activity occurs within two contexts: the context within which the designer operates and the context produced by the developing design itself. The designer’s perception of what the context is affects the implication of the context on the design. The context shifts as the designer’s perceptions change. Design activity can be now characterized as a goal-oriented, con- strained, decision-making, exploration, and learning activity that operates within a con- text that depends on the designer’s percep- tion of the context.
1,697 citations
01 Jan 2012
413 citations
302 citations
References
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Journal Article•
TL;DR: The theory of information as discussed by the authors provides a yardstick for calibrating our stimulus materials and for measuring the performance of our subjects and provides a quantitative way of getting at some of these questions.
Abstract: First, the span of absolute judgment and the span of immediate memory impose severe limitations on the amount of information that we are able to receive, process, and remember. By organizing the stimulus input simultaneously into several dimensions and successively into a sequence or chunks, we manage to break (or at least stretch) this informational bottleneck. Second, the process of recoding is a very important one in human psychology and deserves much more explicit attention than it has received. In particular, the kind of linguistic recoding that people do seems to me to be the very lifeblood of the thought processes. Recoding procedures are a constant concern to clinicians, social psychologists, linguists, and anthropologists and yet, probably because recoding is less accessible to experimental manipulation than nonsense syllables or T mazes, the traditional experimental psychologist has contributed little or nothing to their analysis. Nevertheless, experimental techniques can be used, methods of recoding can be specified, behavioral indicants can be found. And I anticipate that we will find a very orderly set of relations describing what now seems an uncharted wilderness of individual differences. Third, the concepts and measures provided by the theory of information provide a quantitative way of getting at some of these questions. The theory provides us with a yardstick for calibrating our stimulus materials and for measuring the performance of our subjects. In the interests of communication I have suppressed the technical details of information measurement and have tried to express the ideas in more familiar terms; I hope this paraphrase will not lead you to think they are not useful in research. Informational concepts have already proved valuable in the study of discrimination and of language; they promise a great deal in the study of learning and memory; and it has even been proposed that they can be useful in the study of concept formation. A lot of questions that seemed fruitless twenty or thirty years ago may now be worth another look. In fact, I feel that my story here must stop just as it begins to get really interesting. And finally, what about the magical number seven? What about the seven wonders of the world, the seven seas, the seven deadly sins, the seven daughters of Atlas in the Pleiades, the seven ages of man, the seven levels of hell, the seven primary colors, the seven notes of the musical scale, and the seven days of the week? What about the seven-point rating scale, the seven categories for absolute judgment, the seven objects in the span of attention, and the seven digits in the span of immediate memory? For the present I propose to withhold judgment. Perhaps there is something deep and profound behind all these sevens, something just calling out for us to discover it. But I suspect that it is only a pernicious, Pythagorean coincidence.
19,835 citations
Book•
01 Jan 1995
TL;DR: This paper presents a meta-modelling framework for modeling uncertainty in the value of money and the net present value technique, and some examples show how this framework can be applied to product development economics.
Abstract: Chapter 1 Introduction Chapter 2 Development Processes and Organizations Chapter 3 Product Planning Chapter 4 Identifying Customer Needs Chapter 5 Product Specifications Appendix Concept -Scoring Matrix Example Chapter 6 Concept Generation Chapter 7 Concept Selection Appendix A Concept-Screening Matrix Example Appendix B Concept-Scoring Matrix Example Chapter 8 Concept Testing Appendix Estimating Market Sizes Chapter 9 Product Architecture Chapter 10 Industrial Design Chapter 11 Design for Manufacturing Appendix A Material Costs Appendix B Component Manufacturing Costs Appendix C Assembly Costs Appendix D Cost Structures Chapter 12 Prototyping Chapter 13 Robust Design Appendix Orthogonal Arrays Chapter 14 Patents and Intellectual Property Appendix A Trademarks Appendix B Advice to Individual Inventors Chapter 15 Product Development Economics Appendix A Time Value of Money and the Net Present Value Technique Appendix B Modeling Uncertain Cash Flow Using Net Present Value Analysis Chapter 16 Managing Projects Appendix Design Structure Matrix Example
6,707 citations
6,484 citations
TL;DR: An outline is given of the process steps involved in the spiral model, an evolving risk-driven approach that provides a framework for guiding the software process and its application to a software project is shown.
Abstract: A short description is given of software process models and the issues they address. An outline is given of the process steps involved in the spiral model, an evolving risk-driven approach that provides a framework for guiding the software process, and its application to a software project is shown. A summary is given of the primary advantages and implications involved in using the spiral model and the primary difficulties in using it at its current incomplete level of elaboration. >
5,055 citations
Book•
01 Jan 1977
TL;DR: This book will enable a person to make a design for almost any kind of building, or any part of the built environment, which will replace existing ideas and practices entirely.
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.
4,266 citations