Pattern language pdf

One of the principal methods of validating a pattern language is that every pattern be connected vertically to patterns on both higher and lower levels. Damage to a pattern language can be understood visually, by crossing out any single pattern in Figure 3. This will remove the coordination of all the linked patterns below it; moreover, if a vertical relation is one of inclusion, then obviously those patterns below are also eliminated. In addition, all linked patterns above the crossed pattern are automatically eliminated.

Therefore, removing one pattern without understanding its connections damages a significant portion of the pattern language because it also removes at least one vertical chain of patterns.

It is necessary to address a misunderstanding that identifies any multi-level structure with an inverted tree-like hierarchical ordering. In a tree, everything is ordered from a single node above, and nodes on the same level do not link directly. Although some authors use this terminology, that is not what is meant here. A hierarchical inverted tree structure is too restrictive, since all communication has to pass through higher-level nodes.

Inverted tree-like hierarchies are associated with systems that exert top-down control Alexander, Finding patterns for new disciplines A new discipline needs to abstract its patterns as they appear. It is building its own foundation and logical skeleton, upon which future growth can be supported.

Knowing its basic patterns early on will speed up the language's development, and guide it in the right direction. You may obtain insight into a new field lacking a pattern language by studying patterns from established disciplines. A universal high-level structure is inherent in all pattern languages.

The solution space, which is distinct from the parameter space, is rarely one-dimensional, which means that knowing what doesn't work cannot give what works simply by doing the opposite. There may be an infinity of different opposites.

One needs to exhaust the solution space by identifying many neighboring anti-patterns before zeroing in on the pattern itself. Here we need to warn against the destructive tendency in our times of judging patterns prematurely using strict criteria such as efficiency, cost reduction, and streamlining.

It is not that these are inappropriate criteria, but rather that they tend to ignore the linkage between patterns. In other words, patterns in a pattern language depend on each other is a complex manner, and a hasty culling of what are erroneously deemed "superfluous" patterns may damage the cohesion of the language.

Many fundamental patterns have been discarded in the false interest of economy, without realizing that they are essential to a system's coherence and overall performance. The long-term consequences of this are negative, and significant. You may attempt to streamline a process after its complexity is well understood, but not before. Promising new patterns, and time-honored old ones, have been ruthlessly scrapped by short-sighted thinking, borne out of the belief that complex systems have to conform to some sort of "minimalist design.

The most elegant complex systems are nearly but not perfectly ordered. Having to accommodate patterns on the smaller and intermediate scales -- indeed, actually growing out of them -- the larger-scale patterns cannot be perfect in the sense of being pure or too simple. Good design avoids unnecessary complication. It is balanced between arising out of loosely organized small-scale patterns, which could lead to somewhat random forms or processes, and patterns which might pay too much attention to the large scale.

Going too far in either extreme damages the coherence and therefore the efficiency of the system. The general ideas offered here prove useful in extending urban patterns to the electronic city. The notion of an "intelligent environment" defines the urban connectivity of the new millennium. On top of the existing path structure governed by Alexandrine patterns Salingaros, , we need to develop rules for electronic connectivity Droege, ; Graham and Marvin, To define a coherent, working urban fabric, the pattern language of electronic connections which is only now being developed must tie in seamlessly to the language for physical connections.

Already, some authors misleadingly declare that the city is made redundant by electronic connectivity. Such opinions ignore new observed patterns, which correlate electronic nodes to physical nodes in the pedestrian urban fabric.

The two pattern languages will most likely complement and reinforce each other. Consistency and connectivity Of the two criteria: a internal consistency, and b external connectivity, the second is by far the more important. It is essential, however, that any pattern language link to existing languages at its boundaries Figure 6.

For example, a building that is internally inconsistent would be unusable. Once a building has achieved a minimum degree of internal consistency, however, external connectivity with other patterns becomes more important.

The point is to avoid the isolation of pathological systems, which then survive because they are not subject to interactive checks and balances. Figure 6. The enclosed pattern candidates are internally consistent but fundamentally flawed, because they fail to connect to external patterns. Such a language could itself be perfectly consistent internally, but it cannot coexist with other pattern languages that respect complexity. The best example comes from government.

Fascism and totalitarianism clean up the messiness of human society, but clash with our most deeply-held patterns of human values. In the same way, any organizational pattern language that attempts to create a positive work environment will necessarily connect with and provide a transition to Alexander's architectural pattern language, which determines built form on all levels of scale Alexander, Ishikawa et al.

Many social patterns of family life, such as sitting around a table; eating a meal; children playing with toys on the floor; growing plants in large pots; outdoor cooking on a charcoal grill; etc. When a balcony is made too narrow so as to follow some arbitrary design canon or simply to be cheap which satisfies internally consistent criteria , it fails to connect to the above social patterns.

Connection here means accommodation and inclusion among patterns belonging to two different languages. Mathematical isolation, as in Figure 6, guarantees the physical isolation of the balcony from potential users. We don't appreciate how completely architectural patterns connect to social patterns; the former make up a significant part of the traditional culture in any society. Losing them irreparably damages the way a society functions, because architectural patterns help to define all the higher-level social patterns Figure 7.

Especially among the rural poor, tradition is the only way of safeguarding their culture. Tradition embodies solutions evolved over countless generations, so design patterns are connected with and have become part of a way of life. This point has been stressed by Alexander Alexander, , and is very eloquently argued by Hassan Fathy Fathy, pp. Sensitive architects pay attention so that their designs accommodate and nurture social patterns. Architectural patterns that pair with social patterns solid further combine to create a socio-architectural pattern on a higher level.

Sometimes, a pattern might have an unwanted secondary characteristic; the same way an inherited trait in an organism may be essential for survival, but have a mildly negative side- effect.

The same pattern is expressed as two different features. Attempting to remove the secondary, unwanted feature for example, getting rid of every architectural element or social pattern that "spoils" an overall perfect symmetry without realizing what it connects to can destroy the entire language.

By condemning secondary features of human patterns because they are not consistent with arbitrary ideas of style, or because of some antisocial aversion, architects have succeeded in eliminating traditional pattern languages around the world.

Stylistic rules and the replication of viruses During a time of crisis, or in the desire to be totally innovative, established disciplines sometimes willingly replace their pattern languages by stylistic rules. Those are entirely arbitrary, however, coming either from fashion or dogma someone in authority pronounces a rule that is never questioned , or they refer to a very specific situation that does not apply broadly.

Stylistic rules are incompatible with complex patterns such as the one shown in Figure 7. The mechanism by which stylistic rules propagate bears essential similarities to the replication of viruses. A stylistic rule is usually given as a template, and proponents are required to replicate it in the environment. Its success is measured not by how well it serves any human activity, but rather by how many copies are produced. Stylistic rules frequently have no connection to human needs: they are just images with a superficial symbolic content.

While some are benign, many are pathological. An information code for built form -- for example, "flat, smooth, continuous walls at street level" -- enters the mind of a designer either through teaching, or from seeing built examples.

Otherwise intelligent people are easily seduced by simplistic ideas in a design method, which is easy to apply because it eliminates or suppresses natural complexity. That individual then becomes an agent for replicating the virus. Every time this code is replicated, it destroys human connections in that region of the city; the result is obvious because this particular virus undoes all the patterns for connective urban interfaces discussed previously.

By contrast, a pattern is not dictated or forced, but arises out of use, and is accepted on its benefits. It facilitates human life and interactions, and has to continually stand up to tests of its efficacy in this respect. A pattern solves a complex problem; it is not a template to be mindlessly copied. It is far easier to reproduce a visual template than to solve a fundamental design problem, however, because the former requires no reasoned thought; only intuitive matching.

The intellect does not need to work, and the designer can withdraw from the responsibility of making difficult decisions about the complex interactions between built forms and human activities. Partly as a result of this shift, architectural design is now heavily oriented towards visual templates defined by design style. Many stylistic rules are anti-patterns: they are neither accidental, nor the simple preferences of an individual.

They intentionally do the opposite of some traditional pattern for the sake of novelty. By masquerading as "new" patterns, they misuse a pattern language's natural process of repair to destroy it. Patterns work via cooperation to build up complex wholes that coexist and compete in some dynamic balance. By contrast, stylistic rules tend to be rigid and unaccommodating. Their replication in many cases fixes the geometry of built form so as to exclude human patterns.

Any single stylistic rule is capable of suppressing an entire chain of linked patterns on many different scales Figure 3. A destructive stylistic rule, like a virus, is an informational code that dissolves the complexity of living systems.

Today's architects are trained to use a limited vocabulary of simple forms, materials, and surfaces. Their possible combinations are insufficient to even approach the structure of a language.

This replaces an accumulated literature of patterns corresponding to words, sentences, paragraphs, chapters, and books that encapsulates meaning from human experience and life.

Few people realize the enormous consequences on society of adopting a particular design vocabulary. Decisions concerning architectural style affect the surrounding culture; contrary to what is widely proclaimed, one person's visions are not restricted to a building as a single art work. A single visual template can eventually destroy a culture just as effectively as a deadly virus. Evolution and repair of pattern languages Validated patterns are more-or-less permanent, yet there exists a process of repair and replacement.

Now and then, we may play Devil's Advocate and ignore old solutions so as to see new, innovative ones in an old discipline. A new pattern is superior if it increases the connectivity with the majority of established patterns compared to the old pattern it is replacing. It could have a broader context, or supersede several older patterns, thus tightening the language.

This is a process whose goal is to strengthen an existing pattern language by repair and evolution, so as to preserve accumulated wisdom by keeping it relevant to changing needs. Much less frequently, a paradigm shift occurs to make an entire pattern language irrelevant: e.

That does not invalidate the pattern language showing how to create the former; it just makes that end product less desirable. While the technology and materials changed, however, many patterns were saved almost intact in going from carriages to cars. In general, the adoption of innovation is greatly facilitated by minimizing the perception of change; and consequently the number of patterns that need to be replaced. It is wasteful to throw out a repository of patterns, some of which may have been established over millennia.

The introduction of a new pattern language need not displace an older one entirely. Coexistence of competing or complementary patterns is often desirable and even necessary, especially if the new patterns occupy different positions in the hierarchy by acting on different scales. If properly connected, they will lead to a richer and more stable complex system.

Patterns for the automobile transportation network were falsely believed to be threatened by patterns for pedestrian and mass-transit networks. On the basis of this misunderstanding, urban planners and car manufacturers simply suppressed the latter Newman and Kenworthy, A few patterns might work equally well on different levels, though most patterns' context establishes their place in a particular scale of the pattern language.

Some patterns can be moved up or down vertically within a language. Such a property leads to economy in a pattern language through self-similar scaling, which means that one scale looks the same as another scale when magnified.

A pattern language that develops coherence over time may also develop a degree of self-similar scaling as a result of the connections across levels.

As the ensemble of patterns evolves a cooperative structure, driven by the alignment of patterns or anti-patterns on different levels, it creates unexpected similarities. Thus, each level of a coherent structure expresses a property that is characteristic of the whole. The importance of detail A language requires patterns on as many levels as it takes to connect to natural processes.

Every level is important by itself. In any complex system, detail is part of the lower scales in a hierarchy. If these are unconnected, or missing, then the system is not coherent, and cannot work Mesarovic, Macko et al. Neglecting a pattern because it is on a lower level handicaps the entire structure. It is not always obvious what the lowest level of a system is upon which all the higher levels depend. Detail that is part of a scaling hierarchy will be connected to all higher levels of complexity, and is not just "added on.

From the microscopic to the macroscopic through all intermediate scales, different levels of scale cooperate. In the design of buildings, there are several scales -- corresponding to the human range of scales, 1cm to 1m -- that are difficult to justify purely on structural grounds.

Yet, in order to define a connected hierarchy of scales, those scales have to be present in the structure Salingaros, Therefore, either the design should allow the emergence of structure and subdivisions on those scales, or substructure has to be intentionally generated on those scales.

This need creates traditional "ornament" and all the patterns that generate it Alexander, Ishikawa et al. The appropriate ornament is essential for a large form to be coherent Salingaros, An analysis of structural coherence arising from a linked hierarchy of scales reveals the necessity for ornament, though nowadays, ornament is discordant because it is unrelated to the larger form. Detail is a separate question. The smallest perceivable detail at arm's length goes down to 0.

While such detail is available in richly-textured materials, it is usually the scales between texture and ornament 1mm - 1cm that are missing from contemporary buildings. Our minimalist design tradition removes the intermediate and smaller scales from built form. After half a century of training in this idiom, we tend to forget that the best-loved architecture Modernist included works especially well on these scales.

People need to connect to structure on every scale. Conclusion Pattern languages encapsulate human experience, and help us cope with complexity in our environment. They apply to everything from computer programs, to buildings, to organizations, to cities. A civilization's pattern languages are often synonymous with its technical and cultural heritage. New spheres of human endeavor develop their own pattern language, which must link to existing pattern languages in related fields.

Individual patterns are validated empirically over time. The language itself will be on the right track if it evolves a connective structure that incorporates scaling and hierarchy. Architecture and urban design in the twentieth century rely on a set of stylistic rules that fail to connect to patterns of human life. An example of this was traced to a fundamental misunderstanding about urban geometry. It is believed that the removal of urban interfaces would help to create the contemporary city, but it has seriously damaged it instead.

This paper argued that patterns provide a necessary foundation for any design solution to connect with human beings. Contradicting them disconnects the built form from people. This conclusion has profound consequences for architectural practice. It drastically shifts the position of pattern languages in contemporary architecture.

From the peripheral position at the fringes they have occupied for more than two decades, they jump to a central point of architectural relevance.

Pattern languages were revealed as the "taproot" of all architecture, from which design draws its life by virtue of satisfying human needs. This is true even if one disagrees with one or more of Alexander's patterns. Our results imply that design styles which cut themselves off from this source of life are condemned to remain forever sterile. Those that intentionally do so have to admit from now on that this is indeed their aim. Acknowledgments The author's research is supported in part by a grant from the Alfred P.

Sloan foundation. I am grateful to G. Arbon, P. Briggs, J. Coplien, C. Jeffery, R. Johnson, J. Tidwell, M. Waddington, and S. Woo for helpful comments. Intelligent Environments, Elsevier, Amsterdam. Published by Oxford University Press The original book contains much essential detail behind each of the following patterns and is recommended reading. We begin with that part of the language which defines a town or community. These patterns can never be "designed" or "built" in one fell swoop- but patient piecemeal growth, designed in such a way that every individual act is always helping to create or generate these larger global patterns, will, slowly and surely, over the years, make a community that has these global patterns in it.

Do what you can to establish a world government, with a thousand independent regions, instead of countries. These are the patterns which can be "desiged" or "built"- the patterns which define the indivual buildings and the space between buildings; where we are dealing for the first time with patterns that are under the control of individuals or small groups of individuals, who are able to build the patterns all at once.

Layout the overall arrangement of a group of buildings: the height and nuber of these buildings, the enterances to the site, main parking areas, and lines of movement through the complex. First, for a house. Before you lay out structural details, establish a philosphy of structure which will let the structure grow directly from your plans and your conception of the buildings.

Ogni pattern riguarda un problema che si presenta in modo ricorrente nel nostro ambiente e ne descrive il nucleo della soluzione in modo tale che sia possibile usare questa stessa soluzione un milione di volte senza mai realizzarla allo stesso modo. Per convenienza e chiarezza, ogni pattern ha lo stesso "formato". Dopo l'immagine, ogni pattern contiene uno scritto introduttivo, che colloca il pattern stesso nel contesto e spiega come sia possibile utilizzarlo per completare alcuni specifici pattern di scala superiore.

Poi compaiono tre asterischi che identificano l'inizio della descrizione del problema. Dopo il titolo segue il testo che descrive in dettaglio il contenuto del problema. Questi appaiono nella sua prima pagina. Questi appaiono nell'ultima pagina. In quale quadro mentale, e con quali intenzioni, abbiamo descritto questo specifico linguaggio?

La famiglia, in tutte le sue forme; I pattern che seguono sono quelli che possono essere "progettati" o "costruiti", che definiscono edifici singoli e lo spazio tra gli edifici; tratteremo per la prima volta i pattern che sono controllabili da singoli individui o da piccoli gruppi che sono capaci di costruire tali pattern come 'atto' unico. Delineate sia il volume degli edifici sia il volume dello spazio tra gli edifici, ricordando al tempo stesso che spazi interni e spazi esterni, yin e yang, devono sempre trovare forma insieme; Innanzi tutto, per l'abitazione; An info product is a product that shows or tells someone how to do something: create an ebook, create a video, how to put a garden with natural fertilizer, etc.

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This electronic format empowers the users in getting fat content across multiple platforms swiftly and fast. The PDF file format is independent of application software, computer hardware and the computer operating system. This book was released on 20 September with total page null pages. Book excerpt: You can use this book to design a house for yourself with your family; you can use it to work with your neighbors to improve your town and neighborhood; you can use it to design an office, or a workshop, or a public building.

And you can use it to guide you in the actual process of construction. After a ten-year silence, Christopher Alexander and his colleagues at the Center for Environmental Structure are now publishing a major statement in the form of three books which will, in their words, "lay the basis for an entirely new approach to architecture, building and planning, which will we hope replace existing ideas and practices entirely.

At the core of these books is the idea that people should design for themselves their own houses, streets, and communities.