27-02-2015 InnovationLAB Complexiteit, Cognitie en Stedebouw

Transcription

Complexiteit, Cognitie en Stedebouw
De rol van emoties in het ontwerpen en de beleven van de stad
in samenwerking met Juval Portugali
Egbert Stolk, Department of Urbanism, Delft University of Technology, E.H.Stolk@tudelft.nl
27-02-2015 InnovationLAB
Challenge the future
1
Happy City
• Connected communities are happier, more resilient in hard
times and better equipped to handle economic challenges;
• Cities can help to facilitate these positive social connections.
• Architecture, urban design, public spaces and transportation
systems together alter the way we think, feel and treat other
people in ways most of us never realise.
People have reported being happiest in cities where they
expressed the highest levels of trust for their neighbours.
2
3
Unhappy cities
• Post-war cities are mostly designed around private cars, where
homes, workplaces, shops and recreation areas are
segregated into distinct zones.
• People living in these segregated neighbourhoods feel less
trust for their neighbours compared to people living in walkable
mixed areas.
• The more time people spend on commuting, the less likely
they are able to play team sports, hang out with friends, etc.
• Residential towers suffer from the same issues: less trust for
neighbours, more feeling lonely (while being packed closely to
others).
4
5
Donald Appleyard (1982) Livable Streets
6
Some lessons
• Limit the amount of people in any particular residential cluster;
• Pay attention to soft zones between public and private space (3.25m!);
• Even small amounts of green make a huge difference;
• Facades matter: permeable facades cause people to walk slower and
pause more often, turning empty spaces into lively places;
• People who cycle to work report feeling more joy and less fear, rage and
sadness than drivers of transit systems.
7
De rol van emoties in het ontwerpen en de beleven van de stad
8
Mensen kunnen zich nog niet-bestaande toekomsten inbeelden, en
deze realiseren door het ontwerpen en produceren van artefacten.
De stad is een grootschalig en collectief artefact.
Spel spelen voor een beter begrip van de stad als grootschalig en
collectief artefact.
Reflectie op het spel vanuit een aantal theoretische noties
(complexiteit en cognitie).
9
Let’s play!
10
The city game: the area of the future city
• The paper represents the possible
area of the future city;
• There are two existing elements:
1.The sea on the south-side
2.Train-station in the centre, and the
rail from the North.
Land
N
Sea
11
The city game: building blocks
• Blocks represent buildings;
• You’re free to place the blocks;
• Everyone gets 7 buildings;
• We play 7 rounds;
• Each round takes maximum 1
minute.
12
The city game: rules
• RULE 1: the minimum distance between buildings is 1 cm;
• RULE 2: buildings cannot be placed in the sea, on the trainstation or train-track.
• RULE 3: all places are accessible by (imaginary) roads.
• RULE 4: no talking!!!
13
Let’s play!
What happened?
14
Waarom deze concepten?
15
What happened?
•
•
•
•
•
Bottom up initiatives
Emergence of rules and patterns
Top down rules?
Self-organisation, no central control
Collective production of a city
Aerial view of Hamar-Weine (old city), 1923
16
Talk #1
The goal of this first talk is to place these concepts in a theoretical
framework.
1. Complexity, cognition and the production of artifacts
2. Synergetic Inter-Representation Networks (SIRN)
17
1. Complexity, cognition and the production of artefacts
18
What are complexity theories?
• An umbrella name to a set of theories about open
and complex systems that interact with their
surroundings/environment, that achieve their order
spontaneously = by means of self-organisation.
• Complexity theories are about material, organic and
human systems.
• All theories/methodologies of complexity have been
applied to cities with the implication that we now
have a family of Complexity Theories of Cities.
19
What is self-organisation?
Self-Organisation is a property of open and complex systems
… it is an umbrella name to several theories about systems that
achieve high level of organisation spontaneously, without
external planning/design and control.
20
Key-concepts from Synergetics.
• Out of the local (bottom-up) interaction of parts a global order emerges;
• This global order starts to act as a top-down force, enslaving the parts;
• The local parts obey the global order, which strengthens the global order;
• This process is called ‘circular causality’, which is the key to self-organisation;
• This continues until bottom-up forces give rise to another global order, which
replaces the existing global order.
Top
Emergence
Obeying (O)
(O)
time
Slaving (S)
(S)
circular
causality
(S)
Bottom
• So,self-organisation does not refer to bottom-up only: but to the interaction of
bottom-up and top-down as described above.
21
Exercise
• Please think of an example of a complex system
• Individual; 1 minute!
22
Singularly complex (material) system:
Complexity is a property of global system but not of the local parts
Local
Global
The emerging complex
global system has no
effect on the structure
of the atoms as the
parts of the system (not
only their behaviour)
An atom as simply behaving part
Bénard experiment 1904
Simple local part -> Complex global system
23
Singularly complex (organic) system:
Complexity is a property of the global system but not of the local parts
Adaptation is a slow moving process
Hence: the complexity of the parts can be ignored
Local
The bird is a
complex, adaptive,
self organizing
system by virtue of
the fact that it is
subject to the slow
process of biological
evolution
Global
Self-organised collective
behaviour: because
biological evolution is slow,
the feedback impact of the
flock on the single bird can
be ignored. The focus is
on the global system.
Singularly complex local parts -> complex global system
24
Dually complex (human) systems:
Complexity is a property of both the global emerging system and its local parts
Adaptation is a fast moving process
Hence: the complexity of the parts cannot be ignored
Local
Global
The home sapience sapience (HSS)
(the homo faber - Bergson) is subject
to two evolutionary self-organizing
processes: the slow process of
biological evolution and the fast
process of cultural evolution the result
of which is the production of artifacts
Doubly complex part -> Complex global artificial system
25
Summary: three types of complex systems
Type of system
Nature of the
parts
Nature of the
whole
Material systems
Simple local parts Complex global
system
Singularly
Organic systems complex local
parts
Human systems
Urban systems
Doubly complex
parts
Adaptation
Concequences
No adaptation
Complex global
natural system
Adaptation is a
slow moving
process
Complexity of
parts can be
ignored
Complex global
artificial system
Adaptation is a
fast moving
process
complexity of
parts cannot be
ignored
Complex global hybrid natural~artificial system
need to include cognitive sciences and the production of artefacts
26
Organic systems: animals don’t have a choice
The bird made this nest out of artificial
materials; is it an artefact?
Dawkins: the nest is the bird’s extended
phenotype and is in this respect it is part of
nature
The same with beavers, termites....
They have no choice but to build dams and castles
Beavers’ engineering and
Termites’ architecture
27
Human systems: humans do have a choice
Nature tells us to build artificial shelters but not how
to build them
Nature tells us to build artificial collective shelters
but we built/build cities
28
The homo faber is covered by artifacts and is
living in artifacts = artificial environments such as a city
We have
choices with
small artifacts...
... and this is so with
large artifacts such as
buildings and whole
cities
29
There is a continuous interplay between the
urban agents and the environment
How do people behave in space? Environment-‐behavior studies
How do people adapt and change space? Design thinking, urban planning and design
How to understand the dynamics of the urban the city is a major means
of environment? On the other: the city is an environment to its many
On the one hand,
adaptation to changing environmental conditions
urbanoagents
– a complex, self-organizing, artificial
Complexity Theories f Ci9esenvironment – to which urban agents have to adapt
30
How do people behave in space? Environment-‐behavior studies
How do people adapt and change space? Design thinking, urban planning and design
How to understand the dynamics of the urban environment? Complexity Theories of Ci9es
31
Question: how do people produce artifacts?
Answer 1:
By means of their representation capabilities
(SIRN) and,
Answer 2:
By means of their construal level (CLT), planning
and design capabilities.
32
2. Synergetic Inter-Representation Networks
Many cognitive processes, evolve as an
interaction between internal and external
representations.
33
(S)IRN: the interaction between internal and
external representations
REPRESENTATION
INTERNAL
Brain
Vocal
Visual
Bodily
...Haptic
Information Processing Approach
EXTERNAL
Mimetic ...Lexical
Artificial
Tools
...Cities
B-B
Inter-Representation-Network (IRN)
34
The general SIRN model INTERNAL REPRESENTATIONS
information in the brain
information reproduced/
constructed in the brain
INPUT
OUTPUT
information in the world:
behavior & action in the
bodily, artifactual
world: bodily, artifactual
EXTERNAL REPRESENTATIONS
(Haken and Portugali 1996)
35
Intrapersonal SIRN submodel
Bull - Picasso
The Kiss - Brancusi
36
Interpersonal SIRN submodel
Bartlett scenario
Bartlett, F. C. 1932/1961. Remembering : a study in experimental and social psychology, Cambridge, The University press.
37
Intragroup SIRN submodel
City Game by Portugali
38
Intergroup SIRN submodel
http://www.playthecity.nl/
39
The world on paper
World on Paper
World out there
O
dR
≈1:10.000
Scale A’
A
oR
Scale D
Stolk, E.H. Part 1 - PhD Thesis [Unpublished]
40
Collective SIRN model
Intrapersonal sub-model
‘on paper’
‘in the real world’
Interpersonal sub-model
‘on paper’
Intragroup sub-model
‘on paper’
Intragroep sub-model
Intergroup sub-model
‘on paper’
Intergroep sub-model
Stolk, E.H. Part 1 - PhD Thesis [Unpublished]
41
N.a.v. de presentaties: ‘collectief’?
Er zijn verschillende soorten groepen te benoemen die grofweg ingedeeld kunnen
worden naar omvang en bestaansduur.
1. Primaire groepen zijn relatief kleine, lange termijn groepen met een hoge mate
van sociale cohesie, solidariteit, en zijn vrij gesloten van aard.
2. Sociale groepen zijn kleine groepen van een beperkte duur die worden
gekenmerkt door een gemiddeld niveau van interacte tussen de leden gedurende
een langere tijd, waarbij veelal een gedeeld doel wordt nagestreefd.
3. Collectieven zijn verzamelingen van individuen die spontaan tot stand komen,
deze zijn veelal van korte duur zijn zeer open voor inmenging van buitenaf.
4. Een vierde type groep zijn categorieën van verzamelingen van individuen die op
een of andere manier aan elkaar gelijk zijn, zoals in geslacht, etniciteit, religie of
nationaliteit.
42
Complexity, Cognition and Urban Design #2
A CLT view on Planning and Design
43
Talk #2
The goal of this first talk is to relate planning and design to this
SIRN framework.
3. Construal Level Theory (CLT) & dimensions of the psychological
distance
4. Design and planning as moving on and between dimensions
44
Answer 1:
(SIRN) and,
Answer 2:
By means of their planning and design
capabilities, using high and low level construals
(CLT)
45
4. Construal Level Theory & dimensions of
the psychological distance
46
Abstraction in drawing
concrete bull
abstract bull
?
?
?
a bull?
a goat?
?
a gnou?
a deer?
47
Scale and abstraction
abstract
concrete
small scale
large scale
48
Question: is there a relation between level of
scale and level of abstraction?
D
D
D
D
A
A
A
dR
dR
Scale A
D
dR
dR
dR
Scale B
A
Scale C
Scale D
Scale E
D = designer; A = designed artifact; dR = representation of the designed artiffact
More concrete
?
More abstract
49
Answer: according to Construal Level Theory
(CLT), yes!
“People experience themselves in the here and now, but consider,
evaluate and plan situations that are in many respects far away. These
situations require a mental construct to bridge this distance.” Trope and
Liberman 2010
Construal Level Theory describes the relation between the psychological
distance and the extent to which people’s thinking is abstract or concrete.
concrete
concrete
a bit
abstract
abstract concrete
very
abstract
Trope, Y. & Liberman, N. 2010. Construal-Level Theory of Psychological Distance. Psychological Review, 117, 440-463.
50
Example: metaphorical use of physical entities
51
Dimensions of the psychological distance
concrete
abstract
time
now
past
future
space
here
there
social
close
distant
hypotheticality
familiarity
analogy
low
high
known
new
close
Low-level
Construal
concrete
unstructured incoherent
distant
High-level
Construal
abstract
structured coherent
contextualized
decontextualized
analytical tasks
creative tasks
52
we
they
they
we
Relation between spatial and social distance
Trope, Y. & Liberman, N. 2010. Construal-Level Theory of Psychological Distance. Psychological Review, 117, 440-463.
53
A. Moving between past, present and future
perspectival location
mental leap
Chronesthesia, or mental time travel (MTT): the brain’s ability to think about the
past, present, and future:
internal
position
position as well as
“…. certain regions
in the
left lateral parietal cortex, left frontal cortex, external
and cerebellum,
future
future
now
now
the thalamus,
were activated differently when
the
subjects
thought
about
the
past
and
future
past
past
compared with the present. Notably, brain activity was very similar for thinking about all of the
non-present times (the imagined past, real
past, anddistance
imagined future).” (Nyberg et al 2010)
perspectival
proximal
now
future
past
medial
now
distal
future
past
future
past
now
direction of viewing
retrospective
past
now
fMRI Chronesthesia
prospective
now
future
Back to the future
past
now
now
future
P. Piolino - Prospective memory
Based on:of
Stocker,
K. 2012.
in OurofMind.
Cognitive
Science,ofpp.1-36.
Nyberg, L., Kim, A. S., Habib, R., Levine, B. & Tulving, E. 2010. Consciousness
subjective
time inThe
theTime
brain.Machine
Proceedings
the National
Academy
Sciences
54
A. Moving between past, present and future
http://en.wikipedia.org/wiki/Vision_in_Product_Design
55
B. Moving from small-scale to large-scale
• Scale (A)-(B-C-D-E): Manipulability
• Scale (B-C-D)-(A-E): Locomotion required
• Scale (A-B-C)-(D-E): Complete information
• Scale (A-B-C-D)-(E): Experienced
56
C. Moving between individual and collective
Socially close
‘on paper’
‘on paper’
D
D
D
D
A
A
A
Intragroup sub-model
‘on paper’
Intragroep sub-model
oR
oR
Scale A
D
Scale B
SC
A
oR
oR
Scale C
oR
Scale D
Scale E
D = designer; A = designed artefact; oR = representation of the designed artefact
Intergroup sub-model
‘on paper’
Intergroep sub-model
Specific users or
user groups
Humans
in general
Socially distant
57
D. Moving between realistic and hypothetical
Planners~designers’ tasks might be:
• ‘low-hypothetical’, like implementation plans;
• ‘medium-hypothetical’, like a short term vision;
• ‘highly-hypothetical’, like a long term vision.
Salustri, F. A. & Eng, N. L. 2007. Design as…: Thinking about what Design might be. Design Principles and Practices: An International Journal, 1, 19-28.
58
E. Moving between familiar and unfamiliar
Defamiliarization or ostranenie (остранение) is the artistic technique of forcing the
audience to see common things in an unfamiliar or strange way, in order to
enhance perception of the familiar.
Tilt-shift photography
Pablo Picasso (1942)
59
E. The Market Gardener
Giuseppe Arcimboldo, The Market Gardener, 1590, Civic Museum, Cremona
60
E. Defamiliarisation in architecture and urban design
61
F. Moving between close and distant analogies
between domain
global analogy
Source
Target
between/within domain
regional analogy
Source
Source
within domain
local analogy
Target
Target
source
= target
Dunbar, K. 1995. How scientists really reason: Scientific reasoning in real-world laboratories. In: Sternberg, R. J. & Davidson, J. E. (eds.) The nature of insight. Cambridge, MA: MIT press.
Holyoak, K. J. & Thagard, P. 1995. Mental leaps : analogy in creative thought, Cambridge, Mass. ; London, MIT Press.
62
F. Using a close analogy
63
F. Using a distant analogy
From an abstract idea (using a mental leap) - to a concept for a ‘birthplace’ - to a primary generator for the overall structure of this part of
Almere Hout - reflected in a building proposal.
64
Answer 1:
(SIRN) and,
Answer 2:
By means of their planning and design
capabilities, using high and low level
construals (CLT)
65
5. Design and planning as moving on and
between dimensions
66
Mental Time Travel
view on (cognitive) planning and designing
While planning often evolves from the concrete here-and-now and becomes
abstract as it “time travels” to the future, designing often starts as an
abstract future and evolves/”travels” back in time to the concrete here-andnow.
Planning
Designing
starts concrete, with gathering data
starts abstract
anticipates on events
tries to cause events
less uncertainties
more uncertainties
less hypothetical
more hypothetical
Salustri, F. A. & Eng, N. L. 2007. Design as…: Thinking about what Design might be. Design Principles and Practices: An International Journal, 1, 19-28.
67
Moving on all dimensions
mental leap
narrowing designing
contextual
cognitive
concreet
lo-sys
focus
abstract
glo-sys
now
past
future
space
here
there
social
close
hypotheticality
familiarity
analogy
low
known
Creativity
time
high
new
distant
close
LLC
analytic
distant
broadeing contextual
cognitive
planning
HLC
synthetic
focus
Förster, J. (2012) GLOMOsys: The How and Why of Global and Local Processing; Current Directions in Psychological Science 21(1) 15-19
Gabora, L. 2010. Revenge of the “Neurds”: Characterizing Creative Thought in Terms of the Structure and Dynamics of Memory. Creativity Research Journal, 22, 1-13.
68
Concrete happiness and abstract happiness?
• Discuss and write down the differences between planning and design
Low level construal
High level construal
#1
…
…
#2
…
…
#3
…
…
#n
…
…
69
Backward designing
Ontwerp voor Katenbroek (Amersfoort) door Kuiper Compagnons
70
Piecemeal designing & strategic planning
mental leap
mental leap
A
concrete
(backward) designing
A
abstract
concrete
B
C
D
E
n
piecemeal designing
abstract
mental leap
A
B
C
D
E
n
A
concrete
(forward) planning
abstract
concrete
strategic planning
abstract
71
Piecemeal designing
Tan, E. & Portugali, J. 2012. The responsive city design game. In: Portugali, J., Tan, E., Meyer, V. J. & Stolk, E. H. (eds.) Complexity Theories of Cities have come of Age. Heidelberg: Springer.
72
Let’s play! #2
Complexity, Cognition and Urban Design
in collaboration with Juval Portugali
73
The city game: the area of the future city
• The paper represents the possible
area of the future city;
• There are two existing elements:
1.The sea on the south-side
2.Train-station in the centre, and the
rail from the North.
Land
N
Sea
74
The city game: building blocks
• Blocks represent buildings;
• You’re free to place the blocks;
• Everyone gets 7 buildings;
• We play 7 rounds;
• Each round takes maximum 1
minute.
75
The city game: rules
• RULE 1: the minimum distance between buildings is 1 cm;
• RULE 2: buildings cannot be placed in the sea, on the trainstation or train-track.
• RULE 3: all places are accessible by (imaginary) roads.
• RULE 4: formulate a collective vision, and collaborate and talk
during construction.
76
Two types of design
• Top-down design: order is imposed, typical for small-scale
individual design
• Self-organised design: order emerges out of the interaction of
local (bottom-up) forces, typical for large-scale collective design.
77

27-02-2015 InnovationLAB Complexiteit, Cognitie en Stedebouw

Transcription

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