An understanding of cities as open systems whose agents act on them simultaneously from below and above, influencing urban processes by their interaction with them and with each other, is replacing the simplistic debate on urban participation which asks whether cities should be organized bottom-up or top-down. This conceptualization of cities as complex systems calls for new collaborative city-making methods: a combination of collaborative planning (which already embraces various agencies and derives decision-making from negotiations between them) and collaborative design (existing methods rely on rule-based iterative processes which control spatial outcomes). While current collaborative planning methods are open and interactive, they fail to simulate realistic power negotiations in the evolution of the physical environments they plan; collaborative design methods fall short in modelling the decision-making mechanisms of the physical environments they control. This research is dedicated to building an open negotiation and design method for cities as self-organizing systems that bridges this gap. Gaming as a tool for knowledge creation and negotiation serves as an interface between the more abstract decision-making and material city-making. Rarely involved in the creation of our environment, it has the unexplored potential of combining the socio-spatial dimensions of self-organizing urban processes. Diverse agents, the collaborations and conflicts within and between interest groups, and the parameters provided by topological data can all be combined in an operational form in gaming: potentially a great unifier of multiple stakeholder negotiations and individual design aspirations through which to generate popularly informed policies or design. The simple language and rules of games will allow jargon-free communication between stakeholders, experts and non-experts alike. The interactive and iterative nature of city gaming encourages the development of collective intelligence, derived from the real lives of players to be redeployed in their real urban futures. Vitally, city gaming enables the negotiation of this future, as players with conflicting interests are given an opportunity to develop compatible, even shared, visions. By transforming serious issues into a playful and engaging (although no less serious) experience, city gaming unlocks difficult conversations and helps to build communities in the long term. The urban design, policy and action plans generated collaboratively through gaming will increase social coherence and local agency, as well as cutting costs and time in urban development processes. This thesis proposes Generative City Gaming as an innovative urban planning and design method built on the tradition of serious gaming. Going beyond the educational scope of other serious games, the ultimate aim of city gaming is to become operational in urban processes – a goal in the process of making a reality since 2008, when Generative City Gaming was first applied to a real urban questions in the Netherlands, later expanding to Istanbul, Tirana, Brussels, and Cape Town. “Negotiation and Design for the Self-Organizing City” reports on six of the twelve city games played to date which were instrumental in the evolution of the method: Play Almere Haven tested whether a game based on self-organizing mechanisms could provide an urban order; Play Rotterdam questioned whether game-derived design could be implemented in urban renewal of a central Rotterdam neighborhood; Yap-Yaşa was played with real urban stakeholders for transforming Istanbul’s self-built neighbourhoods; Play Noord investigated a masterplan on hold could be fixed by unconventional stakeholders; Play Oosterwold jumped up a scale to test the rules of a flexible urban expansion plan for 4500 hectares; Play Van Gendthallen, was the first to enable stakeholders to make the leap from design to reality within the game process. The Generative City Gaming method evolves continuously. Every new case tests and proves the applicability of city gaming to a specific urban complexity, while challenging the method to adapt itself and develop new features tailored to tackle each unique urban question. Through use, this gaming method is finding its place within existing city-making procedures in a number of countries. The next big question is whether cyclical and open-ended city gaming can move beyond being a consultancy and research tool to become the principal medium of processing and executing city planning.@en

While the consideration of functional and technical criteria, as well as a sense of coherence are basic requirements for solving a design problem; it is the ability to induce an intended quality of aesthetic experience that is the hallmark of design expertise. Expert designers possess a highly developed sense of design, or what in this research is called aesthesis. Reflection on 25 years teaching design in the USA, Hungary, and China led to the observation that most successful design students, more than intellectual ability, drawing, model making or drive, all seemed to possess what may be called an intuitive sense of good design. It is not that they already know how to design, or that they are natural designers, it is that they have a more developed sense aesthesis. This research takes a multi-disciplinary approach to build a theory that describes what is involved in acquiring design expertise,identifies how aesthesis functions in the design process, and determines if what appears to be an intuitive sense of design is just natural talent or an acquired ability. While the consideration of functional and technical criteria, as well as a sense of coherence are basic requirements for solving a design problem; it is the ability to induce an intended quality of aesthetic experience that is the hallmark of design expertise. Expert designers possess a highly developed sense of design, or what in this research is called aesthesis. Reflection on 25 years teaching design in the USA, Hungary, and China led to the observation that most successful design students, more than intellectual ability, drawing, model making or drive, all seemed to possess what may be called an intuitive sense of good design. It is not that they already know how to design, or that they are natural designers, it is that they have a more developed sense aesthesis. This research takes a multi-disciplinary approach to build a theory that describes what is involved in acquiring design expertise,identifies how aesthesis functions in the design process, and determines if what appears to be an intuitive sense of design is just natural talent or an acquired ability. The research started with topics related to design methodology, which led to questions related to cognitive psychology, especially theories of problem-solving. An in-depth review of research in embodied cognition challenged the disembodied concept of the mind and related presuppositions, and reintroduced the body as an essential aspect of human cognition. This lead to related topics including: pre-noetic (pre-verbal) knowledge, the cognitive architecture of the brain, sense mechanisms and perception, limitations and types of memory as well as the processing capacity of the brain, and especially how emotions/feelings function in human cognition, offering insight into how designing functions as a cognitive process. The research provides evidence that more than technical rationality, expert designers rely heavily on a highly developed embodied way of knowing (tacit knowledge) througout the design process that allows them to know more than they can say. Indeed, this is the hallmark of expert performers in many fields. However, this ability is not to be understood as natural talent, but as a result of an intense developmental process that includes years of deliberate practice necessary to restructure the brain and adapt the body in a manner that facilitates exceptional performance. For expert designers it is aesthesis (a kind of body knowledge), functioning as a meta-heuristic, that allows them to solve a complex problem situation in a manner that appears effortless. Aesthesis is an ability that everyone possesses, but that expert designers have highly developed and adapted to allow them to produce buildings and built environments that induce an intended quality of aesthetic experience in the user. It is a cognitive ability that functions to both (re)structure the design problem and evaluate the solution; and allows the designer to inhabit the design world feelingly while seeking aesthetic resonance that anticipates the quality of atmosphere another is likely to experience. This ability is critical to the acquisition of design expertise.@en

How can we better understand and explain the phenomena of architectural composition and perception? The aim of this research is to systematically and imaginatively (re)consider the conditions of architectural composition, whilst doing justice to the operational and the aesthetic issues of design. The ambition is to contribute towards generating a deeper, more objective understanding, concerning the craft of architectural design and consequently: the art of architecture. To unravel the expressive themes that are at interplay in a designed object and to demonstrate their combined workings, formal characteristics are identified and conceptual and analytical models were developed. These are applied and tested in case-studies. The Patterns & Variations study as a whole has been a laboratory and testing-ground for a variety of steadily evolving assumptions, interpretations, and applications that have been generated over a number of years. It is the closing piece of an extensive, personal search, which has sought to bridge the gap between practice, education, research and theory.@en

The research investigates How can the morphological approach in combination with the pattern language approach assist urban designers to achieve historical continuity in urban design both on theory and application levels. This research overviews the developments and applications of the two approaches worldwide with a special emphasis on the Dutch school. The Dutch morphological reduction technique and the Dutch interpretation of a pattern language are used in the case study—Wuhan, a Chinese city—to study the transformation of urban form and life style. The multi-scalar historical morphological analysis results in an atlas that consists of four series of analytical maps on three levels of scale as well as 13 spatial structuring elements of the city; whereas the public life study results in a pattern book consisting of 20 individual patterns and three pattern languages. The practical implications and relevance for -- the design of -- the future of the city are discussed. The research is set up in a systematic and symmetrical manner for comparison of and reflection on the two approaches. It concludes that: 1 The morphological approach can be used to interpret first space (perceived space) and convey its information into second space (conceived space), whereas the pattern language approach can be used to interpret third space (lived space) and convey its information into second space (conceived space). 2 The morphological approach has a tendency to work from large scale to small scale and the pattern language approach tends to be built up from small scale to large scale, whereas urban design works with multiple scales at the same time. 3 The morphological approach and the pattern language approach provide means for urban designers to systematically recognize historical layers so as to distill the meaning in the physical and non-physical contexts respectively. Consirately adding another layer that contains the contemporary meaning (design intervention) to these recognized layers is the way to pass down and simultaneously generate incremental change in the tradition of the context. This results in historical continuity and thus in permanence in urban design. 4 The morphological approach, the pattern language approach, and urban design are processes in themselves and can be combined into one integrated process. 5 The morphological approach, the pattern language approach and urban design are characterized by reduction, abstraction, interpretation, and communication. 6 Some properties of the two approaches can be seen as counterparts, because the roles these properties play in the design process tend to be similar: –– Individual homogeneous areas vs Individual patterns; –– Structural homogeneous areas vs Anchoring points/ Structuring patterns; –– Secondary connections in homogeneous areas vs Linkages between patterns; –– ? / Typology of homogeneous areas vs Clusters of patterns.@en

The Asian Cities Series explores urban cultures, societies and developments from the ancient to the contemporary city, from West Asia and the Near East to East Asia and the Pacific. The series focuses on three avenues of inquiry: evolving and competing ideas of the city across time and space; urban residents and their interactions in the production, shaping and contestation of the city; and urban challenges of the future as they relate to human well-being, the environment, heritage and public life.@en