Configurational meaning and conceptual shifts in design

Abstract

Configuration is defined as the entailment of a set of co-present relationships embedded in a design, such that we can read a logic into the way in which the design is put together. We discuss conceptual shifts during design with particular emphasis on the designer's understanding of what kind of configuration the particular design is. The design for the Unitarian Church offers an historical example of such shifts, authorised by Kahn's own post-rationalisation of the design process. We subsequently construct a formal computational experiment where the generation, description and re-conceptualisation of designs is rendered entirely discursive. The experiment serves to clarify the nature of conceptual shifts in actual design, and the reasons why a reading of such shifts cannot be based on discursive evidence only but necessarily requires us to engage presentational forms of symbolisation as well. Our examples demonstrate how a conceptual shift within a particular design can lead to the discovery of a new potential design world. In the historical case, the conceptualisation of a new design world remains implicit and inadequately specified. But the theoretical experiment allows us to make explicit how geometrically similar configurations that arise from the application of one set of generative rules may possess systematic but entirely unanticipated perceptual properties, subsequently incorporated in new generative rules.

Artistic and Engineering Design of Platform-Based Production Systems: A Study of Swedish Architectural Practice

“…In architectural design, both conceptual ideas about the building's appearance and thoughts on functional properties need to be developed. These two perspectives are, according to Peponis et al [28], developed in parallel, using conceptual ideas based on a combination of divergence and convergence design. In artistic design, divergence is key to exploring design possibilities alongside the problem definition [10].…”

“…An important point to note is the engineering perspective to strive for a structure that manages their design processes [10], which can be one explanation for the linearity of the consensus model [26]. For artistic designers, such control is often regarded as inhibitory rather than quality-improving [27,28]. Hence, the consensus model of artistic design does not strive to standardise and control the design process, but rather to increase the understanding of what makes design processes more or less successful [21].…”

“…A similar distinction to the one between engineering design and artistic design work has been made in creativity research. To achieve high levels of creativity, designers should be allowed to reflect on, and influence, the problem definition [12,28,31]. Well-specified problems that are presented to a designer, with little autonomy regarding the content of the task, are probably easier to solve but result in outcomes that are less creative [10].…”

The Study of Configuration Analysis in Art Gallery based on Space Syntax mmComparison of Washington national gallery and the Shanghai art gallery

“…Normally, the more connectivity of a space, the stronger conformity, but not necessarily the stronger integration value, it depends on the relationship between spatial configurations. Theoretically, integration core is a group of some convex spaces where people regularly gather, but according to Hillier and Choi's study [1] : maximized random encounter is visualized within the space, or reaching visualization by increasing integration value. The pattern of visitor's presence do not directly related to the characteristics of space configuration between different art galleries, but it is closely related to the degree of integration, namely the integration core is not the most person staying places, but the places the most people can see it.…”

“…Artwork, to a certain extent, is a microcosm of human life, the layout of art gallery often changes according to continuously changing exhibition themes, the space configuration will also change, different spatial configuration forms a specific person assembled mode and different interactive mode. Some studies posit concrete discussion about conceptual shifts during design with particular emphasis on the designer's understanding of what kind of configuration the particular design is (Peponis, Bafna et al 2015) [1] . Similar to a small social community, art gallery is the architecture about the spatial organization with the precise organizational structure and has a great difference from other building types.…”