Typed feature structures and design space exploration

Woodbury, Robert; Burrow, Andrew; Datta, Sambit; Chang, Teng-Wen

doi:10.1017/s0890060499134048

Cited by 24 publications

(15 citation statements)

References 6 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Instead, most research focuses on design states and on making action explicit. Little work exists that depends upon computational access to the design space [2,3,4,5]. Yet, it would appear that the design space itself is where the largest gains are to be made.…”

Section: Design Space Explorationmentioning

confidence: 99%

See 1 more Smart Citation

Design Space Machinery

Woodbury¹,

Burrow²

2011

PCEEA

View full text Add to dashboard Cite

Design Space ExplorationDesign space exploration is the idea that computers can be used to help designers by representing many designs, arraying them in a network structure (the space part) and by assisting designers to make new designs and to move amongst previously discovered designs in the network (the exploration part). This conceptual complex arose from some of the initial ideas that occurred to researchers in design computing. Over the years, the complex has been built through descriptive research on designing, prototype systems, thought experiments, mathematics, and considerable scholarly debate. Today it rests on three premises. Each of these is itself an area of research.The first premise is that exploration is a good model for designer action. Numerous studies have shown the utility of modelling designers as information processing systems that search in order to satisfy goals in a strongly constrained problem space. Furthermore, humans are endowed with specific and limited cognitive structures that constrain their behaviour as searchers and representers of problem spaces. A feature of this research is that it is explained in terms of production; that is, its aim is to reproduce and extend the behaviour of designers.The second premise is that designers would find useful tools that amplify their abilities to represent goals and problems spaces, and to search for designs. Researchers have created a modest number of computer programs that attend to such amplification tasks. One of these, KIRTS/GENESIS [1] has seen industrial application. The results provide weak evidence for the utility of such amplification.The third premise is that computational support for exploration is feasible. Namely, that there are tractable representations and algorithms that provide suitable amplification for design explorers. A large body of literature provides support for this premise. There exist numerous formalisms for representing designs, for acting on designs to produce other designs, and for recording such action. A large secondary literature uses such mechanisms to produce relatively compact generative descriptions of corpora of existing and conjectured design work.Research in design space exploration takes on several distinct patterns. Typically, it addresses representation, search algorithms, task description, or interaction design. Relatively little work focuses on the design space itself. Instead, most research focuses on design states and on making action explicit. Little work exists that depends upon computational access to the design space [2,3,4,5]. Yet, it would appear that the design space itself is where the largest gains are to be made. Designers typically consider a very small number of alternatives in their work, and this is explained by cognitive limits.Why the paucity of research on the design space? Conjecture is easy, and the debate is open. Clearly, prior work on representation and action devices is a prerequisite for serious thought about design spaces. Furthermore, any useful computational a...

show abstract

Section: Design Space Explorationmentioning

confidence: 99%

“…Woodbury et al [5] introduced the typed feature structures representation to design space exploration, argued its relevant properties, and showed how it could be used to model simple housing designs.…”

Section: Representation Of Design Spacementioning

confidence: 99%

Design Space Machinery

Woodbury¹,

Burrow²

2011

PCEEA

View full text Add to dashboard Cite

show abstract

“…In formal accounts of design domains, such networks are de facto practice. They may be informal as they are in say, Alexander's pattern language (Alexander, 1979), at a knowledge level, for example, in SEED (Akin et al, 1997), or highly formal, as in recent ontological accounts of design problem structure such as ASCEND (Piela, McKelvey, & Westerberg, 1993) or Woodbury, Burrow, Datta, and Chang. 's (1999) recent work on design space exploration.…”

Section: Notesmentioning

confidence: 99%

A Case Study in the Design of Interactive Narrative: The Subversion of the Interface

Bizzocchi¹,

Woodbury

2003

Simulation & Gaming

View full text Add to dashboard Cite

There is a potential conflict in the design of interactive narratives. The exercise of interaction in digital environments, including games, may interfere with the experience of story. The article uses the interactive CD-ROM CEREMONY OF INNOCENCE as a case study in the resolution of this potential conflict. It frames the design of this interactive narrative as the reconciliation of two independent design domains: the design of narrative and interactive design. Narrative design seeks a state of immersive surrender to the work. In contrast, interaction privileges choice and its consequences according to the logic of the interactive world. CEREMONY OF INNOCENCE uses two tactics to overcome this disjuncture. The first is the broad infusion of narrative sensibilities in the detailed design of the work's subsidiary craft (sound, graphics, moving images, and text). The second tactic is to suborn certain design specifics of the interactive interface to the goals of narrative design.In 1994, one of the authors organized a series of discussions with Vancouver filmmakers about the creative possibilities to be found in the emerging interactive form. 1 He asked each filmmaker to play with current examples of story-based interactive CDROMs (including MYST, THE SEVENTH GUEST, UNDER A KILLING MOON, and FREAK SHOW). Afterward, he and his colleagues explored their reactions to these works. The filmmakers had many observations about creative possibilities for this interactive medium. However, most felt that there was a basic contradiction between a state of narrative immersion (the classic suspension of disbelief) and the process of interaction.Interactive narrative has progressed a long way from those earlier experiences. However, the relationship between interaction and narrative immersion is still problematic and not just for those in the traditional media. The video game industry has made the incorporation of narrative sensibilities a high priority, yet thoughtful members of the gaming community lament that we have yet to find a video game that can make us cry (Barwood, 2000).

show abstract

“…Advances in flexible, configurable geometric representations [14][15][16] have been central to the design of responsive components. Flexible parametric models permit both design space exploration [17,18] and mapping of digital models to physical infrastructure [19]. Through inexpensive hardware components and embedded sensor systems, virtual simulations can be connected directly to physical models [20].…”

Section: Introductionmentioning

confidence: 99%

Design and Fabrication of a Responsive Carrier Component Envelope

2019

View full text Add to dashboard Cite

Responsive architecture comprises the creation of buildings or structural elements of buildings that adapt in response to external stimuli or internal conditions. The responsiveness of such structures rests on addressing constraints from multiple domains of expertise. The dynamic integration of geometric, structural, material and electronic subsystems requires innovative design methods and processes. This paper reports on the design and fabrication of a responsive carrier component envelope (RCCE) that responds by changing shape through kinetic motion. The design of the RCCE is based on geometry and structure of carrier surfaces populated with a kinetic structural component that responds to external stimuli. We extend earlier prototypes to design a modular, component-driven bottom-up system assembly exploring full-scale material and electronic subsystems for the expansion and retraction of a symmetric polar array based on the Hobermann sphere. We test the kinetic responsiveness of the RCCE with material constraints and simulate responses by connecting the adaptive components with programmable input and behavior. Finally, a concrete situation from practice is presented where 16 fully-functional components of the adaptive component are assembled and tested as part of an interactive public placemaking installation at the Shenzhen MakerFaire Exhibition. The RCCE experimental prototype provides new results on the design and construction of an adaptive assembly in system design and planning, choice of fabrication and assembly methods and incorporation of dynamic forms. This paper concludes that the design and assembly of an adaptive structural component based on RCCE presents results for designing sensitive, creative, adaptable and sustainable architecture.

show abstract

Typed feature structures and design space exploration

Cited by 24 publications

References 6 publications

Design Space Machinery

Design Space Machinery

A Case Study in the Design of Interactive Narrative: The Subversion of the Interface

Design and Fabrication of a Responsive Carrier Component Envelope

Contact Info

Product

Resources

About