From the point of view of cognition

From the point of view of cognition repetitively using the same set of features across many projects in architecture design (Chan, 2000, 2001) would inherently manifest a signature style. For instance, Frank Lloyd Wright in his designs repeatedly applied the features of a low pitch roof, centered fireplace, a band of casement windows, continuous bands of window sill, extended terraces with low parapet and coping, watertable, corner blocks, planting urns, massive brick chimney, continuous wall between sill and watertable, overhanging eaves, and symmetric side facade in the houses he designed from 1900 to 1910. These features have been used by scholars to exclusively define Wright\'s prairie house hop over to this site (Chan, 1992). Thus, repetition defines a design style. In everyday life, people often repeat the same routine, repeatedly drinking the same brand of beverage, navigating the same route to the same destination, or following the same schedule every day to run errands. After the same things executed for more than thousands of times, they would be turned into automatic skills of their procedural knowledge (Anderson, 1980). Thus, a cause of repetition can be in the automatic execution of skills and repetition becomes a cognitive procedure for accomplishing things.
Phenomenology of rhythm
Rules creating rhythm in design Rules that create rhythm can be described as a set of operating procedures applied to create forms. In a design, there are many functional design issues that must be considered and rhythm may or may not be one of them. Yet, regardless of whether rhythm has been considered as a design issue or not, as long as a rhythm appeared in a building design, its phenomena demonstrate the effort of thinking about specific arrangements. Here are the examples explaining the rules applied for creation, which are categorized by the nature of repetition.
Impacts of rhythm in design Impacts of the phenomenon of rhythm to human perception could be considered and evaluated from different perspectives in different fields. In language, rhythm is accomplished by the repetition of using the same words or placing the same words or phrases in writing to achieve the purposes of convincing arguments. In all poetry, repetition of a sound, syllable, word, phrase, line, stanza, or metrical pattern is a basic unifying device to heighten emotional response and provide readers a sense of balance. In music, rhythm makes a music move and flow. In dance, as a form of nonverbal communication, rhythm guides the body movement as well (Goodridge, 1998). In design, rhythm is made by form repetitions. As long as the basic element is repeated with an ordered sequence, a pleasant pattern will be created and would be identified as a rhythm. The phenomena of such a visual attraction will generate a pleasant environment for living, working, and recreation. Such a pleasant creation in product could be valid to justify good quality of design. Alvar Aalto\'s works are excellent examples. Shown in seven buildings (Figure 1–8), the repetition of major forms of balcony, window patterns, roof shapes, beam and columns, spatial volumes, and skylights had created poetic architectonic character of articulation in design. Given the strength of Aalto\'s oeuvre, the correlation between repletion and articulation is clearly explained.
Conclusions
Acknowledgments
Introduction Ishii and Ulmer (1997), stress on the idea of giving physical form to digital information by coupling the dual worlds of bits and atoms. The age old conception of architectural space as a closed system is seen as a complete contrast through this paper to perceive architecture as a subject for real time adaptation. The systemic prototypes, expanded upon in this paper are conceived via multidisciplinary studies in the field of emergence (Johnson, 2001; Hensel and Menges; 2006), natural systems, self-organisation and self-renewal. The paper exemplifies the dynamism inherent in biotic systems, and applies the study of such complex systems through a synergetic merger of the fields of electronics, material technologies, embedded computation, sensor and actuation systems and swarm behaviour based principles. The products hence are an active contribution to the much-researched field of information driven, real time responsive architecture. The paper exemplifies information exchange by means of tactile variations of physical entities, generated as a resultant of human, environmental and contextual intervention. Tangible adaptation is manifested via integrating physical materials with digital, electronic and information media. Carefully assigning the generated data into a display that successfully masks the information into new forms and gestures (by means of the nature of information generated, the tectonic variations etc.), in the visual, tactile or audio space (multi-modal) is thus speculated through the research investigations.