「パターン・ランゲージから The Nature of Orderへ」

「パターンランゲージ2012」特別鼎談

羽生田栄一さん

×

中埜博さん

「パターン・ランゲージから The Nature of Orderへ」

株式会社豆蔵取締役 CTO豆蔵ソフト工学ラボ所長

井庭崇

東京環境構造センター代表慶應義塾大学総合政策学部准教授

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2012年12月8日（土）＠慶應義塾大学SFC

パターン・ランゲージからThe Nature of Orderへ

井庭崇（Takashi Iba）慶應義塾大学総合政策学部准教授

[email protected] takashiiba

http://twitter.com/takashiiba

http://twitter.com/takashiiba

C CCConsumption Communication Creation


消費社会情報社会創造社会

創造社会（Creative Society）

あらゆる人々が、自分たちで自分たちの新しい認識、新しいモノ、新しい仕組み、

そして、未来を創造する社会。

1877-0428 © 2010 Published by Elsevier Ltd.doi:10.1016/j.sbspro.2010.04.071

Procedia Social and Behavioral Sciences 2 (2010) 6305–6625

Available online at www.sciencedirect.com

COINs2009: Collaborative Innovation Networks Conference

1877-0428 © 2010 Published by Elsevier Ltd.doi:10.1016/j.sbspro.2010.04.071

Procedia Social and Behavioral Sciences 2 (2010) 6610–6625

COINs2009: Collaborative Innovation Networks Conference

An Autopoietic Systems Theory for Creativity

Takashi Ibaab aMIT Center for Collective Intelligence, Cambridge MA, USA

bFaculty of Policy Management, Keio University, Japan

AAbstract

In this paper, a new, non-psychological and non-sociological approach to understanding creativity is proposed. The approach is based on autopoietic system theory, where an autopoietic system is defined as a unity whose organization is defined by a particular network of production processes of elements. While the theory was originally proposed in biology and then applied to sociology, I have applied it to understand the nature of creation, and called it "Creative Systems Theory". A creative system is an autopoietic system whose element is "discovery", which emerges only when a synthesis of three selections has occurred: "idea", "association", and "consequence". With using these concepts, we open the way to understand creation itself separated from psychic and social aspects of creativity. On this basis, the coupling between creative, psychic, and social systems is discussed. I suggest, in this paper, the future of creativity studies, re-defining a discipline "Creatology" for inquiring creative systems and propose an interdisciplinary field as "Creative Sciences" for interdisciplinary connections among creatology, psychology, and so on.

Keywords; creativity; systems theory; autopoiesis; pattern language

11. IIntroduction

In this paper, a new, non-psychological and non-sociological approach to understanding creativity is proposed. The approach is based on autopoietic system theory, where an autopoietic system is defined as a unity whose organization is defined by a particular network of production processes of elements. While the theory was originally proposed in biology and then applied to sociology, I have applied it to understand the nature of creation, and called it "Creative Systems Theory". A creative system is an autopoietic system whose element is "discovery", which emerges only when a synthesis of three selections has occurred: "idea", "association", and "consequence". With using these concepts, we open the way to understand creation itself separated from psychic and social aspects of creativity. On this basis, the coupling between creative, psychic, and social systems is discussed. I suggest, in this paper, the future of creativity studies, re-defining a discipline "Creatology" for inquiring creative systems and propose an interdisciplinary field as "Creative Sciences" for interdisciplinary connections among creatology, psychology, and so on.

There are several reasons why study of creativity is pursued from so many angles today. First, against the backdrop of the shift from labor-intensive work to knowledge-intensive work, many people involved in business need to make full use of intelligence and creativity for obtaining

Takashi Iba, "An Autopoietic Systems Theory for Creativity",Procedia - Social and Behavioral Sciences, Vol.2, Issue 4, 2010, pp.6610–6625

http://www.sciencedirect.com/science/article/pii/S1877042810011298

Creative Systems Theory創造システム理論

創造とは、《発見》を要素とするオートポイエティック・システムである。

創造が、思考やコミュニケーションとは別のシステムを形成しているということを意味している。



コミュニケーション思考

創造


創造

Presentation

Learning

Collaboration

Presentation Learning

Collaboration

これからの創造社会における基本スキル

Ver. 0.50Presentation Patterns Project

創造的プレゼンテーションのパターン・ランゲージプレゼンテーション・パターン

A Pattern Language for Creative Presentations

Ver. 0.60November, 2012

http://collabpatterns.sfc.keio.ac.jphttp://twitter.com/collabpatterns

[email protected]

Collaboration Patterns Project

創造的コラボレーション

未来への使命感方法のイノベーション伝説をつくる

成長のスパイラル共感のチームづくりレスポンス・ラリー一体感をつくる貢献の領域成長のリターン自発的なコミットメントゆるやかなつながり弱さの共有感謝のことば

創発的な勢いまとまった時間創造の場づくり活動の足あと意味のある混沌アイデアをカタチにインサイド・イノベーターゴールへの道のり臨機応変な動き飛躍のための仕込み

世界を変える力クオリティ・ラインこだわり合う一度こわす期待を超えるファンをつくる広がりの戦略世界の文脈つくり続ける強さ感性を磨く

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Collaboration Patterns : コ

ラボレーション・パターン ̶ 創造的コラボレーションのパターン・ランゲージ (ver. 0.60)

創造的コラボレーションのパターン・ランゲージコラボレーション・パターン

プレゼンテーションパターン

ラーニングパターン

コラボレーションパターン

PresentationLearning Collaboration

Communication

情報社会Consumption

消費社会Creation

創造社会

L2.0話す

L1.0教わる

L3.0つくる

P2.0発信・伝達

P1.0マスコミの視聴

P3.0創造の誘発

C2.0調整

Coordinate

C1.0命令・管理

Command & Control

C3.0育成

Cultivate&

Presentation

Learning

Collaboration

*「Command & Control から Coordinate& Cultivateへ」は、『The Future of Work』（Thomas W. Malone, 2004）より






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創造

Presentation

Learning

Collaboration

Pattern Languages as Mediafor Narrative & Dialogues

語りと対話のメディアとしてのパターン・ランゲージ

取り入れたいパターンを、すでに体験している人を探す。見つけたら体験談を聞く。

逆に、自分の体験したパターンを取り入れたい人がいたら、その人に、体験談を他の人に話す。

パターン・ランゲージを用いた対話ワークショップExperience Mining and Dialogueswith Pattern Languages

ITS-6, 2011

Workshop in the COINs2011 Conference

Walter J. OngRoutledge, 1982, 2002

Orality and Literacy

『声の文化と文字の文化』（ウォルター・Ｊ・オング, 藤原書店, 1991）

Adventure Playground 670 words2 photos, 1 sketch(C. Alexander)

A castle, made of cartons, rocks, and old branches, by a group of children for themselves, is worth a thousand perfectly detailed, exactly finished castles, made for them in a factory.

Play has many functions; it gives children a chance to be together, a chance to use their bodies, to build muscles, and to test new skills. But above all, play is a function of the imagination. A child’s play is his way of dealing with the issues of his growth, of relieving tensions and exploring the future. It reflects directly the problems and joys of his social reality. Children come to terms with the world, wrestle with their pictures of it, and reform these pictures constantly, through those adventures of imagination we call play.

Therefore:Set up a playground for the children in each neighborhood. Not a highly finished playground, with asphalt and swings, but a place with raw materials of all kinds --- nets, boxes, barrels, trees, ropes, simple tools, frames, grass, and water --- where children can create and re-create playgrounds of their own.

Any kind of playground which disturbs, or reduces, the role of imagination and makes the child more passive, more the recipient of someone else’s imagination, may look nice, may be clean, may be safe, may be health --- but it just cannot satisfy the fundamental need which play is all about. And, to put it bluntly, it is a waste of time and money. Huge abstract sculptured playlands are just as bad as asphalt playgrounds and jungle gyms. They are not just sterile; they are useless. The functions they perform have nothing to do with the child’s most basic needs. ... This need for adventurous and imaginative play is taken care of handily in small towns and in the countryside, where children have access to raw materials, space, and a somewhat comprehensible environment. In cities, however, it has become a pressing concern. The world of private toys and asphalt playgrounds does not provide the proper settings for this kind of play.

Abstract Factory 2,159 words2 diagram83 lines code

(GoF’s Design Patterns)

182 words1 illustration

Jump In(Learning Patterns)

No.

“The great composer does not set to work because he is inspired, but be-

FRPHV�LQVSLUHG�EHFDXVH�KH�LV�ZRUNLQJ�´�²�(UQHVW�1HZPDQ

“Make up your mind to act decidedly and take the consequences. No good

LV�HYHU�GRQH�LQ�WKLV�ZRUOG�E\�KHVLWDWLRQ�´�²�7KRPDV�+X[OH\

³<RX�QHYHU�NQRZ�ZKDW�\RX�FDQ�GR�WLOO�\RX�WU\�´�²�3URYHUE

Do not hesitate to jump into a new learning environment.

Jump In

No.4

You have already found the new environment wihch you wish to be in and about to start a new challenge.

ź�,Q�WKLV�FRQWH[W

You are still doubtful whether the community is really suitable for you.

�� ,W�LV�GLI¿FXOW�WR�NQRZ�WKH�DFWXDO�VWDWH�RI�D�FRPPXQLW\�IURP�WKH�RXWVLGH�� It is not until you learn that you really understand what you wanted to

learn.

ź�7KHUHIRUH

Jump into the new environment for your learning.

�� -RLQ�WKH�FRPPXQLW\��SURMHFW��RU�FODVV��DQG�GLYH�LQWR�WKH�¿HOG�� Observe the events that happen there and learn from the members.�� Engage in the activity with all your effort as possible.�� After some time, evaluate the environment and rebuild a plan of your

learning.

68 words4 photos

Cheer-up Cookies(Generative Beauty Patterns)

31Cheer-up CookiesRecover your mood

Solution

Context

Problem

Your feelings are unclear.

You can’t figure out

why your feelings are so pent-up.

Know a way

that would cheer you up.

Listen to your favorite music;

eat your favorite food; go out to the movies;

talk to a friend.

If you know what would cheer you up,

you can always be in a good mood.

▶ 28. Lavish Makeover 37. Space Out

Adventure Playground 670 words2 photos, 1 sketch

Abstract Factory 2,159 words2 diagram83 lines code

182 words1 illustration

Jump In

68 words4 photos

Cheer-up Cookies

(C. Alexander)

(GoF’s Design Patterns)

(Leaerning Patterns)

(Generative Beauty Patterns)

PL1.0

PL2.0

PL3.0

Pattern Languages as Media for Narrative & Dialogues

語りと対話のメディアとして使うことを考え、パターンの文章を短くシンプルにしている。

Pattern Languages as Mediafor Narrative & Dialogues

語りと対話のメディアとしてのパターン・ランゲージ

Takashi Iba, “Pattern Language 3.0,” PLoP2012

0" 10" 20" 30" 40" 50" 60" 70" 80" 90" 100" 110" 120" 130" 140" 150" 160" 170" 180" 190" 200"

学びのデザイン学びのチャンス創造的な学び学びをひらく学びの竜巻

知のワクワク！研究への情熱まずはつかる

「まねぶ」ことから教わり上手になる

身体で覚える成長の発見

言語のシャワーアウトプットから始まる学び

プロトタイピング学びのなかの遊び動きのなかで考えるフィールドに飛び込む

偶有的な出会いフロンティアンテナ

広がりと掘り下げの「Ｔ字」隠れた関係性から学ぶ右脳と左脳のスイッチ

鳥の眼と虫の眼量は質を生む自分で考える

目的へのアプローチ捨てる勇気

学びの共同体をつくる「はなす」ことでわかる

ライバルをつくる教えることによる学び外国語の普段使い

小さく生んで大きく育てる魅せる力

「書き上げた」は道半ばゴール前のアクセルセルフプロデュース

断固たる決意突き抜ける

How many participants have experience of each pattern?

CollegeFreshmen

各パターンが本当に存在することは、事後的に調査できる

The Nature of OrderVol.1-4, Christopher Alexander

Part One 1. The Phenomenon of Life2. Degrees of Life3.Wholeness and the Theory of Centers4. How Life comes from Wholeness5. Fifteen Fundamental Properties6. The Fifteen Properties in Nature

Part Two7. The Personal Nature of Order8. The Mirror of the Self9. Beyond Descartes: A New Form of Scientific Observation10. The Impact of Living Structure on Human Life 11. The Awakening of Space Appendices: Mathematical Aspects of Wholeness and Living Structure

Vol.1 The Phenomenon of Life

Wholeness, Centers,and Pattern Languages

Centers

... these parts and entities are rarely pre-existing. They are more often themselves created by the wholeness. This apparent paradox (seeming paradoxical only because of the simple-minded way in which it is expressed) is a fundamental issue in the nature of wholeness: the wholeness is made of parts; the parts are created by the wholeness. To understand wholeness we must have a conception in which "parts" and wholes work in this holistic way.

To have a consistent way of talking about these entities, during recent years, I have learned to call them all (whether parts or or local wholes or hardly visible coherent entities), "centers."

Christopher Alexander, The Nature of Order, BOOK ONE, Chapter 3, p.84

SIMPLICITY AND INNER CALM ROUGHNESS

STRONGCENTERS

BOUNDARIESCONTRAST

GOOD SHAPE

THE VOID

ECHOES

LOCALSYMMETRIES

LEVELS OF SCALE

DEEPINTERLOCK AND

AMBIGUITY

ALTERNATINGREPETITION

POSITIVE SPACES

GRADIENTS

NOT-SEPARATENESS

The Fifteen Fundamental Properties

Visualized by Takashi Iba, based on Christopher Alexander, The Nature of Order, BOOK ONE

1. Levels Of Scale 2. Strong Centers 3. Boundaries

4. AlternatingL Repetition 5. Positive Spaces 6. Good Shape

7. Local Symmetries 8. Deep Interlock and Ambiguity 9. Contrast

10. Gradients 11. Roughness 12. Echoes

15. Not-Separateness13. The Void 14. Simplicity and Inner Calm



1. Levels Of Scale 2. Strong Centers 3. Boundaries

4. AlternatingL Repetition 5. Positive Spaces 6. Good Shape



7. Local Symmetries 8. Deep Interlock and Ambiguity 9. Contrast

10. Gradients 11. Roughness 12. Echoes



15. Not-Separateness13. The Void 14. Simplicity and Inner Calm



SIMPLICITY AND INNER CALM ROUGHNESS

STRONGCENTERS

BOUNDARIESCONTRAST

GOOD SHAPE

THE VOID

ECHOES

LOCALSYMMETRIES

LEVELS OF SCALE

DEEPINTERLOCK AND

AMBIGUITY

ALTERNATINGREPETITION

POSITIVE SPACES

GRADIENTS

NOT-SEPARATENESS

1. INDEPENDENT REGIONS

2. THE DISTRIBUTION OF TOWNS3. CITY COUNTRY FINGERS4. AGRICULTURAL VALLEYS5. LACE OF COUNTRY STREETS6. COUNTRY TOWNS7. THE COUNTRYSIDE

8. MOSAIC OF SUBCULTURES9. SCATTERED WORK10. MAGIC OF THE CITY11. LOCAL TRANSPORT AREAS

12. COMMUNITY OF 700013. SUBCULTURE BOUNDARY14. IDENTIFIABLE NEIGHBORHOOD15. NEIGHBORHOOD BOUNDARY

16. WEB OF PUBLIC TRANSPORTATION17. RING ROADS18. NETWORK OF LEARNING19. WEB OF SHOPPING20. MINI-BUSES

21. FOUR-STORY LIMIT22. NINE PER CENT PARKING23. PARALLEL ROADS24. SACRED SITES25. ACCESS TO WATER26. LIFE CYCLE27. MEN AND WOMEN

28. ECCENTRIC NUCLEUS29. DENSITY RINGS30. ACTIVITY NODES31. PROMENADE32. SHOPPING STREET33. NIGHT LIFE34. INTERCHANGE

35. HOUSEHOLD MIX36. DEGREES OF PUBLICNESS37. HOUSE CLUSTER38. ROW HOUSES39. HOUSING HILL40. OLD PEOPLE EVERYWHERE

41. WORK COMMUNITY42. INDUSTRIAL RIBBON43. UNIVERSITY AS A MARKETPLACE44. LOCAL TOWN HALL45. NECKLACE OF COMMUNITY PROJECTS46. MARKET OF MANY SHOPS47. HEALTH CENTER48. HOUSING IN BETWEEN

49. LOOPED LOCAL ROADS50. T JUNCTIONS51. GREEN STREETS52. NETWORK OF PATHS AND CARS53. MAIN GATEWAYS54. ROAD CROSSING55. RAISED WALK56. BIKE PATHS AND RACKS57. CHILDREN IN THE CITY

58. CARNIVAL59. QUIET BACKS60. ACCESSIBLE GREEN61. SMALL PUBLIC SQUARES62. HIGH PLACES63. DANCING IN THE STREET64. POOLS AND STREAMS65. BIRTH PLACES66. HOLY GROUND

95. BUILDING COMPLEX96. NUMBER OF STORIES97. SHIELDED PARKING98. CIRCULATION REALMS99. MAIN BUILDING100. PEDESTRIAN STREET101. BUILDING THOROUGHFARE102. FAMILY OF ENTRANCES103. SMALL PARKING LOTS

104. SITE REPAIR105. SOUTH FACING OUTDOORS106. POSITIVE OUTDOOR SPACE107. WINGS OF LIGHT108. CONNECTED BUILDING109. LONG THIN HOUSE

110. MAIN ENTRANCE111. HALF-HIDDEN GARDEN112. ENTRANCE TRANSITION113. CAR CONNECTION114. HIERARCHY OF OPEN SPACE115. COURTYARDS WHICH LIVE116. CASCADE OF ROOFS117. SHELTERING ROOF118. ROOF GARDEN

119. ARCADES120. PATHS AND GOALS121. PATH SHAPE122. BUILDING FRONTS123. PEDESTRIAN DENSITY124. ACTIVITY POCKETS125. STAIR SEATS126. SOMETHING ROUGHLY IN THE MIDDLE

205. STRUCTURE FOLLOWS SOCIAL SPACES206. EFFICIENT STRUCTURE207. GOOD MATERIALS208. GRADUAL STIFFENING

209. ROOF LAYOUT210. FLOOR AND CEILING LAYOUT211. THICKENING THE OUTER WALLS212. COLUMNS AT THE CORNERS213. FINAL COLUMN DISTRIBUTION

214. ROOT FOUNDATION215. GROUND FLOOR SLAB216. BOX COLUMNS217. PERIMETER BEAMS218. WALL MEMBRANES219. FLOOR-CEILING VAULTS220. ROOF VAULTS

221. NATURAL DOORS AND WINDOWS222. LOW SILL223. DEEP REVEALS224. LOW DOORWAY225. FRAMES AS THICKENED EDGES

67. COMMON LAND68. CONNECTED PLAY69. PUBLIC OUTDOOR ROOM70. GRAVE SITES71. STILL WATER72. LOCAL SPORTS73. ADVENTURE PLAYGROUND74. ANIMALS

75. THE FAMILY76. HOUSE FOR A SMALL FAMILY77. HOUSE FOR A COUPLE78. HOUSE FOR ONE PERSON79. YOUR OWN HOME

80. SELF-GOVERNING WORKSHOPS AND OFFICES81. SMALL SERVICES WITHOUT RED TAPE82. OFFICE CONNECTIONS83. MASTER AND APPRENTICES84. TEENAGE SOCIETY85. SHOPFRONT SCHOOLS86. CHILDREN'S HOME

87. INDIVIDUALLY OWNED SHOPS88. STREET CAFE89. CORNER GROCERY90. BEER HALL91. TRAVELER'S INN92. BUS STOP93. FOOD STANDS94. SLEEPING IN PUBLIC

127. INTIMACY GRADIENT128. INDOOR SUNLIGHT129. COMMON AREAS AT THE HEART130. ENTRANCE ROOM131. THE FLOW THROUGH ROOMS132. SHORT PASSAGES133. STAIRCASE AS A STAGE134. ZEN VIEW135. TAPESTRY OF LIGHT AND DARK

136. COUPLE'S REALM137. CHILDREN'S REALM138. SLEEPING TO THE EAST139. FARMHOUSE KITCHEN140. PRIVATE TERRACE ON THE STREET141. A ROOM OF ONE'S OWN142. SEQUENCE OF SITTING SPACES143. BED CLUSTER144. BATHING ROOM145. BULK STRAGE

146. FLEXIBLE OFFICE SPACE147. COMMUNAL EATING148. SMALL WORK GOURPS149. RECEPTION WELCOMES YOU150. A PLACE TO WAIT151. SMALL MEETING ROOMS152. HALF-PRIVATE OFFICE

153. ROOMS TO RENT154. TEENAGER'S COTTAGE155. OLD AGE COTTAGE156. SETTLED WORK157. HOME WORKSHOP158. OPEN STAIRS

159. LIGHT ON TWO SIDES OF EVERY ROOM160. BUILDING EDGE161. SUNNY PLACE162. NORTH FACE163. OUTDOOR ROOM164. STREET WINDOWS165. OPENING TO THE STREET166. GALLERY SURROUND167. SIX-FOOT BALCONY168. CONNECTION TO THE EARTH

169. TERRACED SLOPE170. FRUIT TREES171. TREE PLACES172. GRADEN GROWING WILD173. GARDEN WALL174. TRELLISED WALK175. GREENHOUSE176. GRADEN SEAT177. VEGETABLE GARDEN178. COMPOST

179. ALCOVE180. WINDOW PLACE181. THE TREE182. EATING ATMOSPHERE183. WORKSPACE ENCLOSURE184.COOKING LAYOUT185. SITTING CIRCLE186. COMMUNAL SLEEPING187. MARRIAGE BED188. BED ALCOVE189. DRESSING ROOM

190. CEILING HEIGHT VARIETY191. THE SHAPE OF INDOOR SPACE192. WINDOWS OVERLOOKING LIFE193. HALF-OPEN WALL194. INTERIOR WINDOWS195. STAIRCASE VOLUME196. CORNER DOORS

197. THICK WALLS198. CLOSETS BETWEEN ROOMS199. SUNNY COUNTER200. OPEN SHELVES201. WAIST-HIGH SHELF202. BUILT-IN SEATS203. CHILD CAVES204. SECRET PLACE

226. COLUMN PLACE227. COLUMN CONNECTION228. STAIR VAULT229. DUCT SPACE230. RADIANT HEAT231. DORMER WINDOWS232. ROOF CAPS

223. FLOOR SURFACE234. LAPPED OUTSIDE WALLS235. SOFT INSIDE WALLS236. WINDOWS WHICH OPEN WIDE237. SOLID DOORS WITH GLASS238. FILTERED LIGHT239. SMALL PANES240. HALF-INCH TRIM

241. SEAT SPOTS242. FRONT DOOR BENCH243. SITTING WALL244. CANVAS ROOFS245. RAISED FLOWERS246. CLIMBING PLANTS247. PAVING WITH CRACKS BETWEEN THE STONES248. SOFT TILE AND BRICK

249. ORNAMENT250. WARM COLORS251. DIFFERENT CHAIRS252. POOLS OF LIGHT253. THINGS FROM YOUR LIFE

Town / community buildings

structure / details

Alexander’s Patterns &The Fifteen Fundamental Properties


a wholeof learning

learningas a center

learningas a center learning

as a center

learningas a center

a learner

生成的（Generative）

“いきいきと美しく生きる”ためのパターン・ランゲージ

GenerativeBeautyPatterns

パターン・ランゲージを用いた「診断」システム

Generative Beauty ProjectOpen Research Forum 2012Nov. 22-23, 2012






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これまで井庭研で取り組んできたこと

日本人のこれからの生き方をつくるパターン・ランゲージ

●古き日本の知恵の現代化

●生きのびるための言語（防災）

●グローバルに生きるということ

これから井庭研で取り組んでいきたいこと

普遍的な（時を超えた）パターン・ランゲージ

間主観的なパターン・ランゲージ

現場ごとのプロジェクト・ランゲージ

今日の鼎談で生まれた「パターン・ランゲージの三つのレベル」

中埜博 × 羽生田栄一 × 井庭崇（2012）

「パターン・ランゲージから The Nature of Orderへ」

Design

Transcript of 「パターン・ランゲージから The Nature of Orderへ」