中埜博 × 羽生田栄一 × 井庭崇 鼎談「パターン・ランゲージから The Nature of Orderへ」の井庭スライド。 2012年12月8日（土）＠慶應義塾大学SFCにて開催。

1. 「パターンランゲージ2012」特別鼎談
「パターン・ランゲージから The Nature of Orderへ」
× ×
中埜 博 さん 羽生田 栄一 さん 井庭 崇
株式会社豆蔵 取締役 CTO 慶應義塾大学総合政策学部
東京環境構造センター代表
豆蔵ソフト工学ラボ所長 准教授
2012年12月8日（土）＠慶應義塾大学SFC

2. 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
iba@sfc.keio.ac.jp takashiiba

3. C

4. C C C

5. C C C

6. C
Consumption
C
Communication
C
Creation

7. C
Consumption
C
Communication
C
Creation
消費社会 情報社会 創造社会

8. 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。

9. 創造システム理論
Available online at www.sciencedirect.com
Procedia Social and Behavioral Sciences 2 (2010) 6610–6625
6305–6625
Creative Systems Theory COINs2009: Collaborative Innovation Networks Conference
An Autopoietic Systems Theory for Creativity
Takashi Ibaab
創造とは、《発見》を要素とする a MIT Center for Collective Intelligence, Cambridge MA, USA
bFaculty of Policy Management, Keio University, Japan
オートポイエティック・システム
A bstract
である。 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
1 . I ntroduction
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
創造が、思考やコミュニケーションとは "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
別のシステムを形成しているということ people involved in business need to make full use of intelligence and creativity for obtaining
1877-0428 © 2010 Published by Elsevier Ltd.
doi:10.1016/j.sbspro.2010.04.071
を意味している。
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

10. 創造
コミュニケーション
思考

11. Collaboration
創造 Learning
コミュニケーション
思考
Presentation

12. これからの創造社会における基本スキル
Collaboration
Presentation Learning

13. Learning Presentation Collaboration
0 創造的コラボレーション
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)
1 未来への使命感
2 方法のイノベーション
3 伝説をつくる
4 成長のスパイラル
5 共感のチームづくり
6 レスポンス ラリー
・
7 一体感をつくる
A Pattern 8 貢献の領域
Language for Creative Presentations
9 成長のリターン
プレゼンテーション・パターン コラボレーション・パターン
10 自発的なコミットメント
創造的プレゼンテーションのパターン・ランゲージ 創造的コラボレーションのパターン・ランゲージ
11 ゆるやかなつながり
12 弱さの共有
13 感謝のことば
14 創発的な勢い
15 まとまった時間
16 創造の場づくり
17 活動の足あと
18 意味のある混沌
19 アイデアをカタチに
20 インサイド イノベーター
・
21 ゴールへの道のり
22 臨機応変な動き
23 飛躍のための仕込み
24 世界を変える力
25 クオリティ ライン
・
26 こだわり合う
27 一度こわす
28 期待を超える
29 ファンをつくる
30 広がりの戦略
Ver. 0.60
31 世界の文脈
November, 2012
Ver. 0.50 32 つく り続ける強さ Collaboration Patterns Project
Presentation Patterns Project
33 感性を磨く http://collabpatterns.sfc.keio.ac.jp
Ver. 0.60
http://twitter.com/collabpatterns
collabpatterns@sfc.keio.ac.jp Collaboration Patterns Project
ラーニング プレゼンテーション コラボレーション
パターン パターン パターン

14. C
Consumption
C
Communication
C
Creation
消費社会 情報社会 創造社会

15. Consumption Communication Creation
消費社会 情報社会 創造社会
L1.0 L2.0 L3.0
Learning
教わる 話す つくる
P1.0 P2.0 P3.0
Presentation
マスコミの視聴 発信・伝達 創造の誘発
C1.0 C2.0 C3.0
Collaboration 命令・管理 調整 育成
Command & Control Coordinate & Cultivate
*「Command & Control から Coordinate& Cultivateへ」は、『The Future of Work』（Thomas W. Malone, 2004）より

16. Learning Presentation Collaboration
0 創造的コラボレーション
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)
1 未来への使命感
2 方法のイノベーション
3 伝説をつくる
4 成長のスパイラル
5 共感のチームづくり
6 レスポンス ラリー
・
7 一体感をつくる
A Pattern 8 貢献の領域
Language for Creative Presentations
9 成長のリターン
プレゼンテーション・パターン コラボレーション・パターン
10 自発的なコミットメント
創造的プレゼンテーションのパターン・ランゲージ 創造的コラボレーションのパターン・ランゲージ
11 ゆるやかなつながり
12 弱さの共有
13 感謝のことば
14 創発的な勢い
15 まとまった時間
16 創造の場づくり
17 活動の足あと
18 意味のある混沌
19 アイデアをカタチに
20 インサイド イノベーター
・
21 ゴールへの道のり
22 臨機応変な動き
23 飛躍のための仕込み
24 世界を変える力
25 クオリティ ライン
・
26 こだわり合う
27 一度こわす
28 期待を超える
29 ファンをつくる
30 広がりの戦略
Ver. 0.60
31 世界の文脈
November, 2012
Ver. 0.50 32 つく り続ける強さ Collaboration Patterns Project
Presentation Patterns Project
33 感性を磨く http://collabpatterns.sfc.keio.ac.jp
Ver. 0.60
http://twitter.com/collabpatterns
collabpatterns@sfc.keio.ac.jp Collaboration Patterns Project
ラーニング プレゼンテーション コラボレーション
パターン パターン パターン

17. Collaboration
創造 Learning
コミュニケーション
思考
Presentation

18. C
Consumption
C
Communication
C
Creation
消費社会 情報社会 創造社会

19. Pattern Languages as Media
for 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

20. 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 Dialogues
with Pattern Languages
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。

22. ITS-6, 2011

23. Workshop in the COINs2011 Conference

24. Orality and Literacy
Walter J. Ong
Routledge, 1982, 2002
『声の文化と文字の文化』
（ウォルター・Ｊ・オング, 藤原書店, 1991）

25. Adventure Playground 670 words
(C. Alexander) 2 photos, 1 sketch
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
A castle, made of cartons, rocks, and old branches, by a of play.
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 Therefore:
imagination. A child’s play is his way of dealing with the issues Set up a playground for the children in each
of his growth, of relieving tensions and exploring the future. It neighborhood. Not a highly finished playground, with
reflects directly the problems and joys of his social reality. asphalt and swings, but a place with raw materials of all
Children come to terms with the world, wrestle with their kinds --- nets, boxes, barrels, trees, ropes, simple tools,
pictures of it, and reform these pictures constantly, through those frames, grass, and water --- where children can create
adventures of imagination we call play. and re-create playgrounds of their own.

26. Abstract Factory 2,159 words
(GoF’s Design Patterns) 2 diagram
83 lines code

27. Jump In 182 words
(Learning Patterns) 1 illustration
No.4
No.
Jump In
Do not hesitate to jump into a new learning environment.
You have already found the new environment wihch you wish to be in and
about to start a new challenge.
You are still doubtful whether the community is really suitable for
you.
It is not until you learn that you really understand what you wanted to
learn.
Jump into the new environment for your learning.
“The great composer does not set to work because he is inspired, but be-
“Make up your mind to act decidedly and take the consequences. No good 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.

28. Cheer-up Cookies 68 words
(Generative Beauty Patterns) 4 photos
31 Context
Your feelings are unclear.
Cheer-up Cookies
Recover your mood
Problem
You can’t figure out
why your feelings are so pent-up.
Solution
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

29. Adventure Playground 670 words
PL1.0 (C. Alexander) 2 photos, 1 sketch
Abstract Factory 2,159 words
PL2.0 (GoF’s Design Patterns) 2 diagram
83 lines code
Jump In 182 words
(Leaerning Patterns) 1 illustration
PL3.0 Cheer-up Cookies 68 words
(Generative Beauty Patterns) 4 photos
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。

30. Pattern Languages as Media
for 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

31. Takashi Iba, “Pattern Language 3.0,” PLoP2012

32. 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 College
Freshmen
How many participants have experience of each pattern?
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

33. The Nature of Order
Vol.1-4, Christopher Alexander
Vol.1 The Phenomenon of Life
Part One
1. The Phenomenon of Life
2. Degrees of Life
3.Wholeness and the Theory of Centers
4. How Life comes from Wholeness
5. Fifteen Fundamental Properties
6. The Fifteen Properties in Nature
Part Two
7. The Personal Nature of Order
8. The Mirror of the Self
9. Beyond Descartes: A New Form of Scientific
Observation
10. The Impact of Living Structure on Human Life
11. The Awakening of Space Appendices: Mathematical
Aspects of Wholeness and Living Structure

34. Wholeness, Centers,
and Pattern Languages ... 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
Centers entities), "centers."
Christopher Alexander,The Nature of Order, BOOK ONE, Chapter 3, p.84

35. The Fifteen Fundamental Properties
STRONG
CENTERS
LEVELS OF SCALE
POSITIVE SPACES ALTERNATING
REPETITION
BOUNDARIES
CONTRAST
THE VOID GRADIENTS
GOOD SHAPE
ECHOES
NOT- DEEP
SEPARATENESS INTERLOCK AND
LOCAL AMBIGUITY
SYMMETRIES
SIMPLICITY AND
INNER CALM ROUGHNESS
Visualized by Takashi Iba, based on Christopher Alexander,The Nature of Order, BOOK ONE

36. 1. Levels Of Scale 2. Strong Centers 3. Boundaries
The Fifteen
Fundamental
Properties 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
13. The Void 14. Simplicity and Inner Calm 15. Not-Separateness
Visualized by Takashi Iba, based on Christopher Alexander,The Nature of Order, BOOK ONE

37. The Fifteen Fundamental Properties
1. Levels Of Scale 2. Strong Centers 3. Boundaries
4. AlternatingL Repetition 5. Positive Spaces 6. Good Shape
Visualized by Takashi Iba, based on Christopher Alexander,The Nature of Order, BOOK ONE

38. The Fifteen Fundamental Properties
7. Local Symmetries 8. Deep Interlock and Ambiguity 9. Contrast
10. Gradients 11. Roughness 12. Echoes
Visualized by Takashi Iba, based on Christopher Alexander,The Nature of Order, BOOK ONE

39. The Fifteen Fundamental Properties
13. The Void 14. Simplicity and Inner Calm 15. Not-Separateness
Visualized by Takashi Iba, based on Christopher Alexander,The Nature of Order, BOOK ONE

40. Town / community buildings
Alexander’s 1. INDEPENDENT REGIONS
2. THE DISTRIBUTION OF TOWNS
3. CITY COUNTRY FINGERS
4. AGRICULTURAL VALLEYS
5. LACE OF COUNTRY STREETS
67. COMMON LAND
68. CONNECTED PLAY
69. PUBLIC OUTDOOR ROOM
70. GRAVE SITES
71. STILL WATER
72. LOCAL SPORTS
95. BUILDING COMPLEX
96. NUMBER OF STORIES
97. SHIELDED PARKING
98. CIRCULATION REALMS
99. MAIN BUILDING
100. PEDESTRIAN STREET
127. INTIMACY GRADIENT
128. INDOOR SUNLIGHT
129. COMMON AREAS AT THE HEART
130. ENTRANCE ROOM
131. THE FLOW THROUGH ROOMS
132. SHORT PASSAGES
Patterns &
6. COUNTRY TOWNS 73. ADVENTURE PLAYGROUND 101. BUILDING THOROUGHFARE 133. STAIRCASE AS A STAGE
7. THE COUNTRYSIDE 74. ANIMALS 102. FAMILY OF ENTRANCES 134. ZEN VIEW
103. SMALL PARKING LOTS 135. TAPESTRY OF LIGHT AND DARK
8. MOSAIC OF SUBCULTURES 75. THE FAMILY
9. SCATTERED WORK 76. HOUSE FOR A SMALL FAMILY 104. SITE REPAIR 136. COUPLE'S REALM
10. MAGIC OF THE CITY 77. HOUSE FOR A COUPLE 105. SOUTH FACING OUTDOORS 137. CHILDREN'S REALM
11. LOCAL TRANSPORT AREAS 78. HOUSE FOR ONE PERSON 106. POSITIVE OUTDOOR SPACE 138. SLEEPING TO THE EAST
The Fifteen
79. YOUR OWN HOME 107. WINGS OF LIGHT 139. FARMHOUSE KITCHEN
12. COMMUNITY OF 7000 108. CONNECTED BUILDING 140. PRIVATE TERRACE ON THE STREET
13. SUBCULTURE BOUNDARY 80. SELF-GOVERNING WORKSHOPS AND OFFICES 109. LONG THIN HOUSE 141. A ROOM OF ONE'S OWN
14. IDENTIFIABLE NEIGHBORHOOD 81. SMALL SERVICES WITHOUT RED TAPE 142. SEQUENCE OF SITTING SPACES
15. NEIGHBORHOOD BOUNDARY 82. OFFICE CONNECTIONS 110. MAIN ENTRANCE 143. BED CLUSTER
83. MASTER AND APPRENTICES 111. HALF-HIDDEN GARDEN 144. BATHING ROOM
16. WEB OF PUBLIC TRANSPORTATION 84. TEENAGE SOCIETY 112. ENTRANCE TRANSITION 145. BULK STRAGE
17. RING ROADS 85. SHOPFRONT SCHOOLS 113. CAR CONNECTION
Fundamental
18. NETWORK OF LEARNING 86. CHILDREN'S HOME 114. HIERARCHY OF OPEN SPACE 146. FLEXIBLE OFFICE SPACE
19. WEB OF SHOPPING 115. COURTYARDS WHICH LIVE 147. COMMUNAL EATING
20. MINI-BUSES 87. INDIVIDUALLY OWNED SHOPS 116. CASCADE OF ROOFS 148. SMALL WORK GOURPS
88. STREET CAFE 117. SHELTERING ROOF 149. RECEPTION WELCOMES YOU
21. FOUR-STORY LIMIT 89. CORNER GROCERY 118. ROOF GARDEN 150. A PLACE TO WAIT
22. NINE PER CENT PARKING 90. BEER HALL 151. SMALL MEETING ROOMS
23. PARALLEL ROADS 91. TRAVELER'S INN 119. ARCADES 152. HALF-PRIVATE OFFICE
Properties
24. SACRED SITES 92. BUS STOP 120. PATHS AND GOALS
25. ACCESS TO WATER 93. FOOD STANDS 121. PATH SHAPE 153. ROOMS TO RENT
26. LIFE CYCLE 94. SLEEPING IN PUBLIC 122. BUILDING FRONTS 154. TEENAGER'S COTTAGE
27. MEN AND WOMEN 123. PEDESTRIAN DENSITY 155. OLD AGE COTTAGE
124. ACTIVITY POCKETS 156. SETTLED WORK
28. ECCENTRIC NUCLEUS 125. STAIR SEATS 157. HOME WORKSHOP
29. DENSITY RINGS 126. SOMETHING ROUGHLY IN THE MIDDLE 158. OPEN STAIRS
30. ACTIVITY NODES
31. PROMENADE 159. LIGHT ON TWO SIDES OF EVERY ROOM
32. SHOPPING STREET 160. BUILDING EDGE
33. NIGHT LIFE 161. SUNNY PLACE
34. INTERCHANGE 162. NORTH FACE
163. OUTDOOR ROOM
35. HOUSEHOLD MIX 164. STREET WINDOWS
36. DEGREES OF PUBLICNESS STRONG 165. OPENING TO THE STREET
37. HOUSE CLUSTER 166. GALLERY SURROUND
CENTERS
38. ROW HOUSES LEVELS OF SCALE 167. SIX-FOOT BALCONY
39. HOUSING HILL 168. CONNECTION TO THE EARTH
40. OLD PEOPLE EVERYWHERE
169. TERRACED SLOPE
41. WORK COMMUNITY POSITIVE SPACES ALTERNATING 170. FRUIT TREES
42. INDUSTRIAL RIBBON 171. TREE PLACES
REPETITION
43. UNIVERSITY AS A MARKETPLACE 172. GRADEN GROWING WILD
44. LOCAL TOWN HALL BOUNDARIES 173. GARDEN WALL
45. NECKLACE OF COMMUNITY PROJECTS 174. TRELLISED WALK
CONTRAST
46. MARKET OF MANY SHOPS 175. GREENHOUSE
47. HEALTH CENTER 176. GRADEN SEAT
THE VOID GRADIENTS
48. HOUSING IN BETWEEN 177. VEGETABLE GARDEN
178. COMPOST
49. LOOPED LOCAL ROADS
50. T JUNCTIONS
GOOD SHAPE 179. ALCOVE
51. GREEN STREETS 180. WINDOW PLACE
52. NETWORK OF PATHS AND CARS 181. THE TREE
53. MAIN GATEWAYS ECHOES 182. EATING ATMOSPHERE
54. ROAD CROSSING 183. WORKSPACE ENCLOSURE
55. RAISED WALK NOT- DEEP 184.COOKING LAYOUT
56. BIKE PATHS AND RACKS SEPARATENESS INTERLOCK AND 185. SITTING CIRCLE
57. CHILDREN IN THE CITY AMBIGUITY 186. COMMUNAL SLEEPING
LOCAL 187. MARRIAGE BED
58. CARNIVAL SYMMETRIES 188. BED ALCOVE
59. QUIET BACKS 189. DRESSING ROOM
60. ACCESSIBLE GREEN SIMPLICITY AND
61. SMALL PUBLIC SQUARES 190. CEILING HEIGHT VARIETY
62. HIGH PLACES INNER CALM ROUGHNESS 191. THE SHAPE OF INDOOR SPACE
63. DANCING IN THE STREET 192. WINDOWS OVERLOOKING LIFE
64. POOLS AND STREAMS 193. HALF-OPEN WALL
65. BIRTH PLACES 194. INTERIOR WINDOWS
66. HOLY GROUND 195. STAIRCASE VOLUME
196. CORNER DOORS
197. THICK WALLS
structure / details 198. CLOSETS BETWEEN ROOMS
199. SUNNY COUNTER
200. OPEN SHELVES
205. STRUCTURE FOLLOWS SOCIAL SPACES 226. COLUMN PLACE 201. WAIST-HIGH SHELF
206. EFFICIENT STRUCTURE 227. COLUMN CONNECTION 202. BUILT-IN SEATS
207. GOOD MATERIALS 228. STAIR VAULT 203. CHILD CAVES
208. GRADUAL STIFFENING 229. DUCT SPACE 204. SECRET PLACE
230. RADIANT HEAT
209. ROOF LAYOUT 231. DORMER WINDOWS
210. FLOOR AND CEILING LAYOUT 232. ROOF CAPS
211. THICKENING THE OUTER WALLS
212. COLUMNS AT THE CORNERS 223. FLOOR SURFACE
213. FINAL COLUMN DISTRIBUTION 234. LAPPED OUTSIDE WALLS
235. SOFT INSIDE WALLS
214. ROOT FOUNDATION 236. WINDOWS WHICH OPEN WIDE
215. GROUND FLOOR SLAB 237. SOLID DOORS WITH GLASS
216. BOX COLUMNS 238. FILTERED LIGHT
Visualized by Takashi Iba, based on
217. PERIMETER BEAMS 239. SMALL PANES
218. WALL MEMBRANES 240. HALF-INCH TRIM
219. FLOOR-CEILING VAULTS
220. ROOF VAULTS 241. SEAT SPOTS
Christopher Alexander,The Nature of
242. FRONT DOOR BENCH
221. NATURAL DOORS AND WINDOWS 243. SITTING WALL
222. LOW SILL 244. CANVAS ROOFS 249. ORNAMENT
223. DEEP REVEALS 245. RAISED FLOWERS 250. WARM COLORS
Order, BOOK ONE 224. LOW DOORWAY
225. FRAMES AS THICKENED EDGES
246. CLIMBING PLANTS
247. PAVING WITH CRACKS BETWEEN THE STONES
248. SOFT TILE AND BRICK
251. DIFFERENT CHAIRS
252. POOLS OF LIGHT
253. THINGS FROM YOUR LIFE

41. a whole
of learning
a learner
learning
learning learning as a center
as a center learning as a center
as a center

42. 生成的（Generative）

43. Generative
Beauty
Patterns
“いきいきと美しく生きる”
ためのパターン・ランゲージ

44. パターン・ランゲージを用いた「診断」システム
Generative Beauty Project
Open Research Forum 2012
Nov. 22-23, 2012

45. これまで井庭研で取り組んできたこと
Learning Presentation Collaboration
0 創造的コラボレーション
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)
1 未来への使命感
2 方法のイノベーション
3 伝説をつくる
4 成長のスパイラル
5 共感のチームづくり
6 レスポンス ラリー
・
7 一体感をつくる
A Pattern 8 貢献の領域
Language for Creative Presentations
9 成長のリターン
プレゼンテーション・パターン コラボレーション・パターン
10 自発的なコミットメント
創造的プレゼンテーションのパターン・ランゲージ 創造的コラボレーションのパターン・ランゲージ
11 ゆるやかなつながり
12 弱さの共有
13 感謝のことば
14 創発的な勢い
15 まとまった時間
16 創造の場づくり
17 活動の足あと
18 意味のある混沌
19 アイデアをカタチに
20 インサイド イノベーター
・
21 ゴールへの道のり
22 臨機応変な動き
23 飛躍のための仕込み
24 世界を変える力
25 クオリティ ライン
・
26 こだわり合う
27 一度こわす
28 期待を超える
29 ファンをつくる
30 広がりの戦略
Ver. 0.60
31 世界の文脈
November, 2012
Ver. 0.50 32 つく り続ける強さ Collaboration Patterns Project
Presentation Patterns Project
33 感性を磨く http://collabpatterns.sfc.keio.ac.jp
Ver. 0.60
http://twitter.com/collabpatterns
collabpatterns@sfc.keio.ac.jp Collaboration Patterns Project
ラーニング プレゼンテーション コラボレーション
パターン パターン パターン

46. これから井庭研で取り組んでいきたいこと
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

47. 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」
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
中埜 博 × 羽生田 栄一 × 井庭 崇（2012）