Category: phd, MIT Design and Computation

I defended my MIT dissertation Graphing Theory: New Mathematics, Design, and the Participatory Turn amidst mentors, advisors, colleagues, friends, family, and the wonderfully intricate murals of Frank Stella. I will post a link to my dissertation as soon as it appears on MIT’s DSpace. Below is the abstract and committee info.

ABSTRACT

In the 1960s mathematically inclined architects involved with academic research advocated for a shift from the points and lines of geometric shapes to points and lines of another kind – ones representing abstract objects and their relationships. A story of propinquities between architecture and mathematics, this dissertation investigates this shift through the lens of the mathematical concept that catalyzed it: the graph. I take the graph as an entity with fluctuating symbolic and operational properties and “follow” it across institutional and disciplinary boundaries to reveal historical connections hitherto unseen. I begin by locating the graph’s entry into architectural theory at transitions and transactions of mathematical and architectural modernism. Mathematical modernism promoted a structural model of disciplinary knowledge free of empirical intuitions, while boosting new mathematical varieties that represented structures and relations. Architects turned to structural abstraction in efforts to purify their inheritance of interwar Modern architecture from stylistic doctrines and empirical conventions. The graph’s amenability both to visual depiction and to mathematical analysis furnished it with a strategic position among modern mathematical varieties: graphs made structural abstraction visible and workable. By virtue of this property, graphs proliferated in architectural theory as harbingers of a veritably modern discipline founded on rationality and geared toward ensuring functional efficiency. The end of the 1960s found advocates of functionalism and rationality turning to ideals of intuition and espousing the “unpredictabilities” of participatory design. By delving into four contexts of architectural theory production in the United Kingdom, the United States, and France, I expose technical and conceptual continuities among propositions sitting on opposite sides of this “participatory turn.” I argue that the “turn” was undergirded and motivated by a new regime of seeing and subjectivity, for which the graph was an instigator, symbol, and facilitator. “Intellectual vision,” as I call this regime, assumes an abstract invariant structure that underlies concrete appearance and delimits the extents of subjective choice in a combinatorial manner. I identify forces that legitimized intellectual vision in 1960s and 1970s architectural theory and critically analyze the ways in which it was used to conceptualize creativity and open-endedness both in architectural design and in theories of participation. I close with an evocation of alternative engagements between architecture and mathematics as pathways to reclaiming shape and recouping perceptual seeing.

DISSERTATION COMMITTEE

George Stiny, Professor of Design and Computation, Massachusetts Institute of Technology, Thesis Supervisor

Timothy Hyde, Associate Professor of the History of Architecture, Massachusetts Institute of Technology, Thesis Reader

Τerry Knight, Professor of Design and Computation, Massachusetts Institute of Technology, Thesis Reader

Natasha Schüll, Associate Professor of Media, Culture, and Communication, New York University, Thesis Reader

How can we retell the history and rethink the present of participatory design theory by looking at the technical device that its first manifestations rely on? This is the question that I ask in my MIT dissertation (Major: Design and Computation, Minor: Science and Technology Studies), the proposal for which I defended on March 9, 2015. I am privileged to have the guidance of brilliant people: my advisor George Stiny, and my readers Terry Knight, Natasha Schull, and Timothy Hyde. In my dissertation I am writing on transformations of design theory in the 1960s-1970s effected on the basis of computational (formal and mathematical) techniques, across sites in Europe and North America. I am looking into the meanings and circulation of structural and relational mathematical ideas in early design research so as to provide an alternative historical and critical account of the emergence of user-centric and participatory perspectives in design. Stay tuned for updates.

Dissertation Abstract:

In the 1960s and 1970s the design disciplines were marked by fervent theoretical and methodological activity performed on the basis of computational (mathematical and formal) techniques. Despite burgeoning scholarly interest in these early touch-points between design and computation, the role of specific mathematical techniques in the making and circulation of novel design theories and methods remains largely uncharted. With the aspiration to activate analytical and critical opportunities, I shift attention to a particular kind of mathematics that enjoyed wide currency in the nascent field of “design research” in the 1960s and 1970s and use it as lens through which to look at theoretical and methodological transformations that transpired in design.

The protagonist of my story is a type of applied relational mathematics that formed the computational substrate of many new design theories and methods developed during that period: graph theory. I will examine how the structural and relational mathematical properties of the graph, and their associated cultural meanings, made it available to and relevant for designers. I will also investigate how these properties generated thinking about design as a discipline and the roles of its participating subjects – both designers and users.

• In Section I: New Mathematics I will account for the modernizing and unifying visions that structural and relational mathematics came to evoke across disciplines in the 1950s-1960s, and how these visions qualified graph theory in US and European research universities.

• In Section II: Design, I will trace intellectual and institutional conditions that motivated designers operating in academic settings to seek mathematical rigor, and will unearth discipline-specific meanings that designers attributed to science and rationality in the 1960s.

• In Section III: The Participatory Turn, I will study a series of cases that employed graph theory to compute relationships between “users” and the physical form of objects, buildings, or cities. I will interrogate the role of three properties of graphs (predictivity, isomorphism, combinatorics) in enabling a continuous transition from scientizing propositions about design in the 1960s to participatory design theories and methods in the 1970s.

Through this inquiry I will show that despite discontinuity in terms of agendas, the “scientific sixties” and the “participatory seventies” present striking similarities in terms of concepts and computational techniques – both products of a short lived engagement of designers with structural and relational mathematics. By acknowledging this conceptual and technical continuity, I will open possibilities for critiquing conceptual biases that persist in contemporary understandings of “user-centric” design, and for rethinking its computational implementations.

I successfully defended my PhD General Exam on the research topic of Design and Use. The exam questions revolved on descriptions of use and formulations of its relationship to design in the history of architectural theory, technology/material culture studies, and participatory design. Special thanks to the examination committee George Stiny, Terry Knight, and Edith Ackermann for their feedback and constructive comments.