Christopher Alexander and constructive diagrams

Village bund at Village Khor  India

Writing in his preface to a later edition of the book, Alexander disclaims much of his design theory program as an end in itself, but he nevertheless maintains that the constructive diagrams remain vital:

"if you try to understand the idea that you can create abstract patterns by studying the implications of limited systems of forces, and can create new forms by free combinations of these patterns - and realize that this will only work if the patterns which you define deal with systems of forces whose internal interaction is very dense, and whose interaction with jthe other forces in the world is very weak - then, in the process of trying to create such such diagrams for yourself, you will reach the central idea which this book is all about" (1971)

The book contains an appendix which is an application of the program, using an Indian village as an example.  In the life of such a village, he says, there are 4 main aspects:.  

a. cattle and bullock carts and fuel
b agricultural production, irrigation  and distribution
c. communal life of the village both social and industrial
d. private life and shelter

He also identifies 141 areas of possible misfit through process of observation and research and classifies them within  the four subsets. Each of these "sub-sets" (in terms of the program) is further divided into smaller sub-sets.  The entire set of smaller sub-sets combines the 141 misfit areas.

Christopher Alexander  Diagram B

Alexander then constructs a drawing or constructive diagram which is his solution and his ideal method of resolving the issues thrown up within the sub-sets.  In this diagram, part of "B" (agricultural and irrigation processes)  he shows a long curved causeway (or bund) on one side of which is collected water from springs running down the slope.  The squiggles indicate trees planted to prevent erosion and maximise water production.  On the top side are the shared fields, together with 3 collection points for seeds and a demonstration farm.

I made a three dimensional sketch to try and grasp the diagram.  What is unusual is that there is no aesthetic process in the design.  It is simply based on practical and social knowledge.
This certainly is a radical way to design.  My instinct is to impose a sense of form - just what he says is wrong with designers in general!

In my next post I will review the agricultural, social and private aspects of life in the village

Christopher Alexander and design patterns

I am interested in Christopher Alexander's approach to design.  I have for some time liked his appreciation of  human needs in creating the built environment, as outlined, for example in his book The Timeless Way of Building.  I am as yet a novice in my understanding of his ideas, but since studying  the Open University course U101 Design Thinking - creativity for the 21st century  I have a wider knowledge of design methods, particularly in addressing the real needs of the end user (or inhabitant of a building).

I have just read his early book "Notes on the Synthesis of Form"  (1964), in which he explains his design approach and his systematic approach. 

Below is my first synopsis which I plan  to expand and develop.  I am particularly interested in how the diagrams take form and how they help in the process and I will add illustrations to this blog.

Alexander is critical of conventional architecture.  He considers it too theoretical and too "professional".  The result, he thinks, is a culture of elitism which is distant from the real needs of the users of buildings.  He terms contemporary architecture and design "self-conscious", as opposed to the "unselfconscious" methods of building and making in less "developed" societies.

Because "unselfconscious" makers are very involved with the creation and maintenance of their products, they address "misfit problems" as they arise. They also use traditional materials and rituals and methods which are suited to local conditions. in "self-conscious" societies architecture and design are taught as professional subjects embodying a vast amount of theory and received wisdom.

His solution is to create a program which works even in very complex situations and yet retains the effectiveness of the unselfconscious procedure. The method is to look at the situation and, using knowledge and new research gained through listening to users, to assess all the sources of possible misfit (Set M) then consider how each of these interacts with the others.  This gives set (L).  Both sets together = graph G (M, L).

It is possible to analyse M into subsets which can then be further divided into minor subsets (consisting of interrelated misfits).  The resulting tree diagram is a visual description of the entire set L.  It is now possible to translate each element of each subset into a constructive diagram.  Such diagram combines the formal pattern of the situation and a notation of how the situation needs to work (requirement).  Building these sub-set diagrams together into one diagram illuminates the problem and how it needs to be solved (please see next post for more on this)

Questions from reading "Notes on the Synthesis of Form"


One thing Alexander does not address is the changing society.  Even very simple societies cannot in a globalized world remain static.  Aesthetic judgements are also ignored.  The result is a very "quiet" approach to design.