Pattern
Language 3.0
andFundamental
Behavioral
Properties

200Iba, Takashi
Keio University, Japaniba@sfc.keio.ac.jp

In this paper, I present frontiers of pattern languages
based on my studies over the past 10 years. First, an
overview of the history of pattern languages and the perspectives of categorizing existing pattern languages ispresented. In this categorization, pattern language for human actions are in their third generation—thus the name“Pattern Language 3.0.” This paper introduces Learning
Patterns, Collaboration Patterns, Presentation Patterns,
Change Making Patterns, Survival Language, and Words
for a Journey as examples of Pattern Language 3.0. The
paper also illustrates methodologies of pattern mining,
pattern writing, and pattern illustrating. Then, workshops
using pattern languages and tools for accessing patternlanguages are described. Finally, I propose Fundamental
Behavioral Properties as an extension of the theory presented in Christopher Alexander’s book, The Nature of
Order. I hope that this articulation of the results of mystudies will stimulate others to develop future innovations for a creative society.
Pattern language 3.0; human action, dialog; workshop;
behavioral properties

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1. INTRODUCTION
Over the past 10 years, working with my students, I have created more than 20 patternlanguages on various topics to describe human actions, consisting of more than 600 patterns in total. By creating these new pattern languages, we have studied and developed
methodology to create pattern languages and to use them. Furthermore, we have madetheoretical advances related to pattern languages. This paper presents results from suchstudies and practices: a conception of generations of pattern languages; examples of pattern languages for human actions; and methodologies of pattern mining, pattern writing,and pattern illustrating. There are also descriptions for how workshops contribute to thesuccessful use of pattern languages, tools for utilizing pattern languages, and fundamental
behavioral properties of pattern languages for human actions.

2. GENERATIONS OF PATTERN LANGUAGES
Pattern languages can uncover design knowledge that exists in particular areas of a profession. Design knowledge refers to both the intelligence to notice problems and the clue tosolve them. In other words, pattern languages describe expertise in problem solving undercertain conditions and in particular contexts.
The originator of pattern language was the architect, Christopher Alexander who proposed
it to develop design knowledge of building and town (Alexander, 1979). His intention was
to have people who lived in a community get involved in the process of designing their own
towns and houses. In the late 1970s, he wrote a book with his colleagues that contained
253 patterns on practical architectural design (Alexander et al., 1977). Ten years after thebook was published, Alexander’s idea of pattern language was adopted in the field of software design (Beck & Cunningham, 1987; Gamma, et al., 1995). Since the 1990s, an increasing number of fields have adopted the methods of pattern language (Coplien & Harrison,
2004; Manns & Rising, 2005; Manns & Rising, 2015; Hoover & Oshineye, 2009; Pedagogical
Patterns Editorial Board, 2012).
On the basis of this background, I have been creating pattern languages in a new area ofknowledge concerning human actions such as learning, presentation, collaboration, education, business, social innovation, policy-making, and even beauty in daily life.
Through these experiences, I have thought a fundamental question “What are pattern languages?” In considering this question, I have organized and refined my views on patternlanguages. Human actions appear to differ vastly from architecture and software; neverthe-202

Pattern Language 3.0 and Fundamental Behavioral Properties

less, they need to be designed with tacit design knowledge, which still consists in a context,
a problem, and a solution. In that sense, without losing the essence of design knowledge,
pattern languages are continuing to evolve, which has brought us to the Pattern Language
3.0 stage, distinguishing it from previous stages: Pattern Language 1.0 and Pattern Language 2.0 (Iba, 2011; Iba, 2012b). Figure 1 and Figure 2 illustrate the evolution and differenceof these generations as they relate to the object of design, the act of design, and the design
purpose.

Figure 1: Three Generations of Pattern Languages

Figure 2: Comparison of Pattern Language Generations

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2.1. Object of Design
A pattern language is a collection of inter-related facets that describe aspects of the expertise that is the foundation of design knowledge. The areas of expertise for which patternlanguages have been used have changed over time. Initially, the primary object of using
pattern language was to describe the design of architecture. Next, it was applied to non-material objects, software programs. Today, in Pattern Language 3.0, the evolution continues
as it addresses human actions. An entirely new and unique feature of using 3.0 to create
pattern languages is that users develop a type of meta-cognition as they are constantly
reflecting on themselves whilst developing their designs.
Examples of the Pattern Language 3.0 areas of human actions being addressed today include: education (Pedagogical Patterns Editorial Board, 2012; Iba et al, 2011; Shibuya etal., 2013), innovation (Manns & Rising, 2005; Manns & Rising, 2015), learning (Hoover &Oshineye, 2009, Iba & Iba Lab, 2014a; Harashima, et al., 2014), collaboration (Iba & Iba
Lab, 2014b), presentation (Iba & Iba Lab, 2014c), change making (Shimomukai, et al., 2015),
disaster prevention (Furukawazono, et al. 2015), beauty in everyday life (Arao, et al., 2012),
living well with dementia (Iba & Okada, 2015), living with continuous self-fulfillments (Nakada, et al., 2013; Kamada, et al., 2014), living in the age of a global society (Matsuzuka, etal., 2013), cultural design (Kadotani, et al., 2013, 2014), academic research (Kobayashi, etal., 2008), project promotion (Naruse, et al., 2008), cooking (Isaku & Iba, 2014; Isaku & Iba,
2015), and policy design (Iba & Takenaka, 2013).
In addition, Pattern Language 3.0 actually includes patterns for creating new pattern languages.
These specialized patterns are referred to as “meta-patterns,” because they present the fundamental skills to develop new pattern languages. Meta-patterns include: pattern mining (Iba &Isaku, 2012; Iba & Yoder, 2014; Akado, et al., 2015), pattern writing (Meszaros & Doble, 1997;
Harrison, 2006), pattern illustrating (Harasawa, et al., 2015), shepherding (Harrison, 2006), writers’ workshops (Coplien, 1999), and designing workshops to use patterns (Iba, 2012a).

2.2. The Act of Designing
As pattern languages have evolved, not only has the object of design changed, but the meaning of the design has changed as well.
In Pattern Language 1.0, architectural designing was basically a once-off activity in the process of creating a town or a house. After it had been built, it could rarely be undone. Pattern
Language 2.0 updated the design system to accommodate software code to make it easier
to identify problems, understand how to fix the problem and rewrite the corrected code to
be re-released as a better version of the product. For this reason, Pattern Languages 2.0
are useful for repetitive design.

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In 3.0, a new aspect has evolved based on the fact that, in practice, human actions undergo
continuous change, as people find better ways to do things. Unlike architecture, with its
concrete start and end, or software that requires iterative design to turn out new versionsof the software, 3.0 pattern languages for human actions must address nonstop change
and it is difficult to recognize a clear beginning or end of a certain phase of an activity. This
new level of complexity can be explained by the observation that the difference between
designing and practicing a human action is hardly distinguishable. We practice to designand design to practice, creating an endless design process.

2.3. Purpose
In Pattern Language 1.0, Alexander developed pattern languages to serve as a lingua franca
to bridge the gap between professional designers and community members. With the shift
to the information age, Pattern Language 2.0 was primarily developed to fill technical gaps
between experts and less experienced professionals. Software designers who wished to
improve their skills read the patterns to acquire design knowledge from more experienced
programmers. In this case, both sides became designers and the patterns existed merely
to reduce the distance between them. The 3.0 evolution of pattern languages now makes it
possible to connect all kinds of people (actor) with all kinds of different experiences. 3.0 patterns
help illuminate the less noticeable parts of a person’s experience, so the person can reconsider
the experience to talk about and share these with others. Stated simply, Pattern Language 3.0
becomes a medium for narrative and conversations between people regardless of the amountof experience or skill a person has. In addition, a person need not understand the concept of
pattern languages or background knowledge about the design knowledge written in it to use
the pattern to its fullest advantage.

3. Examples of Pattern Languages for
Human Actions
This section focuses on some major examples of 3.0 pattern languages for human actions
we created: Learning Patterns, Collaboration Patterns, Presentation Patterns, Change Making Patterns, Survival Language, and Words for a Journey (Figure 3).

3.1. Learning Patterns
Learning Patterns consists of 40 patterns (Iba et al., 2009; Iba & Miyake, 2010; Iba & Sakamoto, 2011; Iba & Iba Lab, 2014a) to enhance creative learning by providing an opportunity
for learners to reflect on their learning styles, to discover or rediscover good habits, and toobtain new insights into how they can become a better learner.

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3.2. Collaboration Patterns
Collaboration Patterns are 34 patterns that describe practical knowledge for performing
collaborative interactions (Iba and Isaku, 2013; Iba & Iba Lab, 2014b), whereby teamwork
creates new values that could change the world by producing an emergent robustnessthat cannot be attributed to any one member of the team, but comes with the process ofenhancing one another.

3.3. Presentation Patterns
Presentation Patterns are 34 patterns that describe practical knowledge for designing presentations (Iba et al. 2012; Iba & Iba Lab, 2014c; Iba & Isaku, 2014) A Creative Presentation
is an imagination provoking presentation inviting the audience to discover new findings.
Although we use the word “presentation,” this set can be applied to all kinds of presenting
such as general public speaking, performance of music, drama, or dance.

3.4. Change Making Patterns
Change Making Patterns describe the secrets for facilitating social change (Shimomukai &Iba, 2012; Shimomukai et al., 2012, 2015; Nakamura & Iba, 2015a, 2015b). The 31 distinctive patterns show how social entrepreneurs identify social issues and create or implement
solutions to overcome these issues. This set of tacit knowledge is disclosed for you to not
only learn how social entrepreneurship is executed in difficult situations but also start yourown change making project.

3.5. Survival Language
Survival Language is a pattern language to support survival when a catastrophic earthquake
occurs (Furukawazono, et al., 2013a, 2013b, 2015). There are 20 patterns to teach people todevelop practices, including: Designing for Preparation [for an earthquake], Designing for Emergency Action [in the event of an earthquake], and Designing for Life After an Earthquake. These
patterns were formulated based on the lessons Japan has learned from its experience ofnumerous earthquakes.

3.6. Words for a Journey
Words for a Journey are 40 patterns to assist people living with dementia (Iba & Okada,
2015; Iba, et al., 2015a, 2015c) and those who care for them to improve quality of life forall involved, and to reduce the negative impressions people may have of the disease. Thispattern language was developed from a collection of wisdom and stories from people livingin this situation and extracts its essence to be shared widely.

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Figure 3: Pattern Names of Learning Patterns, Collaboration Patterns, Presentation Patterns,
Change Making Patterns, Survival Language, and Words for a Journey

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4. Methodology of Pattern Mining
Despite the method of pattern language has been applied to various domains, little has
been discussed about how to create pattern languages and its methodology is yet to be developed. To start the process of developing a new pattern language, it is important to “minethe seeds” of the patterns from examples of best experiences or practices. Pattern mining
is shorthand for discovering thought patterns embodied in our minds or in the activities
associated with the target. The term pattern mining is taken from a metaphor of geologicalmining (Gabriel, 1996; DeLano, 1998).
In the pattern mining, first, miners explore their experiences, observations, episodes, or documented past work related to the subject at hand. Through this exploration, they look forand identify hidden knowledge used for the target. This knowledge may include associatedrules, methods, tips, or customs. Next, the miner finds critical connections among these
related items so that prospective pattern begins to form a meaningful whole. In what follows,
I will show three types of pattern mining methods based on our experiences in creating patternlanguages: Collaborative Introspection, Mining Interview, and Mining Workshop.

4.1. Collaborative Introspection
Collaborative introspection is usually done by two or more people so that multiple points ofview are engaged to avoid patterns becoming skewed, to reflect only the values of a single
person. In the process, group members first go through an element mining session together (Figure 4). They write rules, methods, tips, or customs they consider important about
the subject onto a sticky note, talk about it briefly to the group, and then place the note ona large sheet of craft paper. The members simultaneously write their notes and each taketurns talking about them until no one has any more ideas to share. After collecting theirideas, they organize these by compiling similar ideas and dividing them into groups, andfinally the groups are potential seeds of patterns.

Figure 4: Collaborative Introspection (Left: Presentation Patterns; Right: Collaboration Patterns)

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Using this method, we created the following pattern languages: the Learning Patterns (Iba
& Iba Lab, 2014a), the Collaboration Patterns (Iba & Iba Lab, 2014b), Presentation Patterns(Iba & Iba Lab, 2014c), the Generative Beauty Patterns (Arao, et al., 2012), the Creative CoCooking Patterns (Isaku & Iba, 2015), and several meta-patterns. Iba & Isaku (2012) presents
the patterns for collaborative introspection and clustering ideas into the seeds of patterns
in holistic way. And, Iba, et al. (2010) shows the process of creating the Learning Patterns;
Sakamoto & Iba (2011) shows the case of the Presentation Patterns.

4.2. Mining Interviews
If you are motivated to create a pattern language for an area in which you have little or no
experience, it is necessary to conduct interviews with experienced people to collect key
information needed to write the patterns (Figure 5). During an interview, it is important to
ask key questions that relate to the Solution, Problem, and Context. According to the Keys
Worth Sharing (Iba & Yoder, 2014), a good way to begin an interview is to first ask what theinterviewees really want to share with colleagues and newcomers. This question usuallyelicits responses that include core ideas about possible solutions; most people enjoy sharing this information. Then, ask what will happen if you don’t practice the important points
in order to conduct Problem Digging. For example, you can ask what drove you to choose
this solution? This will help to obtain information about the problem that the pattern solves.
Thereafter, ask when or where the problem occurs, in order to conduct Context Catching.
The interviewer should take notes during the interview process by either writing them downin their sticky notes, notebook or on a whiteboard. After collecting the ideas by such aninterviews, they go on to organizing them by compiling similar ideas and dividing them into
groups.

Figure 5: Mining Interview (Left: Words for a Journey; Right: Pedagogical Patterns for Creative
Learning)

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PURPLSOC: Designing Lively Scenarios With the Pattern Approach of Christopher AlexanderWith using this method, we created the following pattern languages: Words for a Journey(Iba & Okada, 2015), the Change Making Patterns (Shimomukai et al., 2015), Survival Language (Furukawazono et al., 2015), Personal Culture Patterns (Nakada et al., 2013), Global Life
Patterns (Matsuzuka et al., 2013), Policy Language (Iba & Takenaka, 2013), and Pedagogical
Patterns for Creative Learning (Iba, et al., 2011; Shibuya, et al, 2013). See also Oi et al. (2015)
for the method of presenting patterns related to their original interview transcriptions.

4.3. Mining Workshop
Another approach is to conduct pattern mining workshops where the seeds of patterns arecollected from dialog among the participants. Interestingly, different goals for participants
and organizers can be set for such a workshop (Akado, et al., 2015). Mining pattern seeds
would not be a motivation for people from outside the pattern language community. Therefore, it is a good idea to design the workshop as an opportunity to get some practical tips
and solutions directly from the workshop, even though one goal of the organizers could becollecting information about problems and solutions for making pattern seeds (Figure 6).
In a pattern mining workshop, ideas about both solutions and problems are mined. It does
not matter with which one starts, just so long as both are clarified during the workshop.
If someone starts with a solution, ask the person what the problem is. The special type of
facilitator, which we call `generator,’ tries to discover what that person sees as a suitable
solution or asks other participants for suggestions. To easily maintain separation between
the sticky notes for comments on Problems and comments for Solutions, it is highly recommended to use two different colors of sticky notes.

Figure 6: Mining Workshop (Generative Beauty Workshop)
We used this method to collect additional pattern seeds for the Generative Beauty Patterns.
Based on this experience, Akado et al. (2015) presents five patterns for designing pattern mining workshops. Hong et al. (2015) used this type of mining workshop to understand culturalsimilarities and differences on beauty in daily life in Japan, Korea, and the United States.

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5. Methodology of Pattern Writing
After any of the mining methods pattern seeds are obtained. Next what we need to do isto write them down into a pattern format. Although there are various pattern formats, I
usually follow this format: Pattern Name, Introduction, Pattern Illustration, Context, Problem, Forces, Solution, Actions, and Consequence.
The Pattern Name gives the pattern a short memorable name for easy reference that accurately describes the pattern. The introduction provides an entry gate to the patterns, andIllustrations make it easy to imagine a living image of the pattern. These three elements
actually provide a summary of the pattern.
The rest of the elements provide more details about the patterns. For example, Context
informs when the pattern should be used. Problem is the undesired consequence that is
likely to occur in the context under discussion. Forces are unavoidable laws about the aspects of human nature that make the Problem difficult to overcome. A Solution is one way
to resolve the problem, and Actions provide some concrete activities. Finally, Consequences
describe how things can change when this pattern is applied to the situation.
Even with a simple format of a pattern, we take a different, more complicated order to write the contents of the pattern. This process tends to confuse many beginners in pattern
writing. I have emphasized the order of pattern writing in university classes and workshops
for pattern writing because I realized that, for some people, it is necessary to have a tool forshowing basic order to follow in pattern writing.
On the backdrop, I designed the Pattern Writing Sheet (Iba, 2014a). It provides not only the
space to write the contents of a pattern but also instructions on how to proceed thinking
about them (Figure 7). This sheet is available online under the Creative Commons license,and I have used it for several workshops (Figure 8).

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Figure 7: Pattern Writing Sheet

Figure 8: A workshop for business people to write a pattern related to their work using a Pattern
Writing Sheet

6. METHODOLOGY OF PATTERN ILLUSTRATINGThe most eye-catching part of our patterns is pattern illustration. In my mind, pattern illustrations are not just interesting side drawings, but essential expressions of a pattern,
especially in Pattern Language 3.0 for human actions. Pattern Illustrations should meet thefollowing three requirements:
1.

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It should express the essence of the pattern.

Pattern Language 3.0 and Fundamental Behavioral Properties

2.

It should include character(s) that express human movements and feelings throughbody language and facial expressions.

3.

It should be an iconic representation of the pattern that does not connect multiple
scenes with arrows.

Pattern illustrations are carefully designed. We start by understanding the essence of thepattern, draw rough sketches, and revised them several times, much like revising a sentence to get it just right. For example, to get the 34 pattern illustrations for the Presentation
Patterns, we drew more than 500 illustrations.
The preference is for simple characters rather than realistic, detailed characters (Figure 9).
Manabu-kun is the character for the Learning Patterns (Iba & Iba Lab, 2014a), the Collaboration Patterns (Iba & Iba Lab, 2014b), the Presentation Patterns (Iba & Iba Lab, 2014c), theSurvival Language (Furukawazono, et al., 2015), and the Pedagogical Patterns for Creative
Learning (Iba, et al., 2011). “Manabu” means “learn” in Japanese, which is why we used it toname the drawing pattern illustrations for Learning Patterns, which was our first patternlanguage with pattern illustrations. However, there are other characters in other patternlanguages that we have created; some examples are shown in Figure 9.
Many writers in our pattern community are interested in pattern illustrating, but they saythat it is difficult and want to know where to start and how to proceed through the design
process. We have studied pattern illustrating (Harasawa, et al. 2012, 2014), and published
two guides about it; one is a picture book (Figure 10) showing the process of pattern illustrating very simplistically (Harasawa, et al., 2015), and the other is comprised of the 28 actual
patterns in Pattern Illustrating Patterns (Iba & Iba Lab, 2015; Miyazaki, et al., 2015).

Figure 9: Examples of Pattern Illustration

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Figure 10: Picture book: A Tale of Pattern Illustrating (Harasawa et al., 2015)

7. Workshops using Patterns Languages
Third generation pattern languages for human actions are used not only for self-study byreading patterns, but also as media for narrative and dialog. For different purposes, I invented some specific types of workshops: the creative dialog workshop, a collaborative improvement workshop, and an idea generation workshop.

7.1. Creative dialog workshop
An implementation of pattern languages as media for creative dialog is an organized workshop (Iba, 2012b, 2014c) that provides participants an opportunity to reflect on their experiences, talk about them with others, and make a plan for future actions using the patternlanguage (Figure 11).
In this workshop, first, participants are asked to recall their experiences in terms of theprovided pattern language. They are asked to choose five patterns they wish to master in
the near future. Then, participants are free to mingle and to find and talk with other participants. When they find someone who has experienced a pattern they want to master, theylisten to the other participant’s story.
Dialog workshops using the Learning Patterns (Iba & Iba Lab, 2014a) have been held at theFaculty of Policy Management and Faculty of Environment and Information Studies, Keio
University, since 2011. All freshmen at the two faculties, approximately 900 students, haveparticipated in these workshops and talked about their experiences of learning in light ofthe patterns. About 4,500 students have participated in the workshops over the past five214

Pattern Language 3.0 and Fundamental Behavioral Properties

years. Iba (2014c) presents feedback from workshop participants of the dialog workshop
using the Learning Patterns. Based on the results, we realized the following merits of dialog
workshops using a pattern language.
First, participants can talk to people to whom they have never talked before. By setting arule that participants must talk only to people they do not know, the workshop becomes anextraordinary and interesting event and is still feasible even if participants are shy and do
not like talking to new people. This is because the atmosphere and rules of the workshop
make it more comfortable for people to talk. Moreover, the workshop is fun and interesting
and the participants even make new friends, although the theme is learning.
Second, to actualize the patterns they want to implement, the participants gain ideas about
specific actions they can take and also learn that the same pattern can have various applications. In this workshop, participants are often motivated by other people’s attitudes andexperiences, of learning in the case of Learning Patterns, and by seeing the diversity of theexperiences of others. Through the workshop, the participants gain a broader viewpoint of
the world and themselves to help them share and solve problems they are facing.
Third, the workshops not only allow participants to know something unique about others,
but also to discover new aspects in themselves by using the pattern language to talk about
themselves. In the dialogs, they also sometimes discover they have experience with a pattern that they did not realize they had experienced. Some participants are already using thepattern names as part of their vocabulary and making emphatic comments about what the
dialog workshop actualizes in them.
Thus, dialog workshops facilitate not just simple conversation and trading information, but
become places for creative dialog. Iba (2012a) presents a pattern language for designingthus type of workshop and Iba (2014a) introduced the method of pattern language as media for mining, analyzing, and visualizing experiences.

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Figure 11: Dialog workshop using a pattern language (Up: Learning Patterns at Keio University;
Down: Learning Patterns at the University of North Carolina at Asheville)

7.2. Collaborative improvement workshop
A pattern language can be used to improve design based on a diagnosis of current status.
Christopher Alexander calls this function “a process of diagnosis and local repair”(Alexander
et al., 1975). Likewise, we can use pattern languages for human actions by diagnosing thecurrent status and finding ways to repair it.
I sometimes hold workshops where participants improve their presentation skills using the
Presentation Patterns. First, they give their own short presentation, maybe three minutes,
very short. Then, they discuss how they could improve the presentations by giving constructive comments using the Presentation Pattern Cards, which will be discussed later in this paper.
Interestingly, in previous workshops, I have witnessed that younger less-experienced participants can still impart useful advice to comparatively experienced participants, possibly
because the participants do not need to think of the advice from scratch based on theirexperience, but rather can choose patterns and apply them to the presentation during discussion. We have held the workshop for collaborative improvement using the Presentation
Patterns (Iba & Iba Lab, 2014c) for graduate students (Figure 12) and my collaborator has
had success with a similar workshop at an elementary school.

Figure 12: Creative Improvement Workshop (Presentation Patterns)

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7.3. Idea generation workshop
Patterns are usually used to support direct design for the target. In 3.0, this means designing human actions. Recently, however, we utilized patterns as seeds for designing products and services to help people in the situations described by the patterns (Figure 13).
There are two kinds of pattern language use: designing products and services to support
conducting actions to solve a problem and designing products and services to change conditions so that the problem does not occur in the first place. The idea generation workshop
can be conducted as solution-driven, problem-driven, or a mix of both.
During idea generation using a pattern language, patterns take on several roles: seeds for
abductive reasoning, constraints on the scope of ideas, and needs for the emerging ideas.
Since patterns provide ideal direction of solutions, people can think out new ideas basedusing the patterns as clues. These patterns are also constraints on divergent thinking, but
the level of abstraction of patterns provides a good level of ambiguity. Moreover, ideas
based on solutions of the patterns always have reasons why the idea is important, because
every pattern is written as a pair: problem and solution.
We held idea generation workshops using “Words for a Journey” patterns for college students(Figure 14). In the workshop, participants invented new ideas for products and services forpeople with dementia and their families, using Words for a Journey Cards, which are shownin the next section. Few had previous knowledge about dementia, but they were able tolearn enough from the pattern language to conceptualize new tools for positive support.

Figure 13: Designing products and services to indirectly support actions with a pattern

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Figure 14: Idea Generation workshop (Words for a Journey)

8. Tools for utilizing Pattern Languages
Since Alexander invented the method of pattern language, patterns are now shared inbooks, papers, and on web pages. These are good for studying the practical knowledge
from domain experts. However, these sources are not suitable when pattern languages areused as media for dialog between more than two people.
Accordingly, we created several new tools for using pattern languages, such as pattern
cards, pattern stickers, and a web system for sharing quality.

8.1. Pattern cards
The crucial problem of providing pattern languages as books, papers, and web pages isthat these are less flexible. It is simply impossible to manipulate patterns in books, papers,
or web pages to stimulate thinking or communication. So, I created several pattern cards,
which are small-size thick paper cards with a summary of the patterns printed on them.
These pattern cards are easy for people to manipulate as they think and communicate
about an issue. Figure 15 shows the layout of one of the Presentation Pattern Cards andFigure 16 shows one of the Words for A Journey Cards.

Figure 15: Front and Back of a Pattern Card (Presentation Pattern Cards)

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Figure 16: Pattern Card (Words for a Journey Cards)
Although pattern cards can be used in various ways, I recommend the following ways:
1.

Diagnosing Yourself: Diagnose yourself by grouping the cards according to whether
you have prior experience with each pattern.

2.

Drawing Future Visions: Use the Pattern Cards to develop your plan of activity.

3.

Improving Your Learning: Use the Pattern Cards to improve your actions.

4.

Reflecting on Your Activity: After an activity is finished, the Pattern Cards can be used
for reflection on your experience.

5.

Case Studies: Use the Pattern Cards as tools for case studies of activities.

6.

Dialogs: Use the Pattern Cards to share past experiences of activities.

7.

Interviews: With the Pattern Cards, you can interview others to hear stories about thepatterns that you want to use in the future.

The upper pictures in Figure 17 illustrate using the Presentation Pattern Cards for (5) casestudies in a high school. After becoming familiar with patterns through (6) Dialogs, participants watched a TED talk (www.ted.com) and analyzed the presentation using the Presentation Patterns. They examined all 34 patterns and categorized them into three groups:
Practicing, Partially Practicing, and Not Practicing. These categories indicated whether thepresenter was practicing any of the patterns or not. Then, they discussed why the presentation was attractive based on the patterns grouped in the Practicing or Partially Practicing
groups. Lower pictures of Figure 17 show the same workshop, but for training of highschool teachers.

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I have created the following pattern cards so far: Learning Pattern Cards, Collaboration Pattern Cards, Presentation Pattern Cards, Survival Language Cards, and Words for a Journey
Cards. These cards can be used for thinking alone or for workshops. Additionally, we have a
prototype of a card game of patterns (Okazaki et al., 2011).

Figure 17: Workshop with Pattern Cards (Presentation Pattern Cards)

8.2. Pattern stickers
Although workshops using pattern languages are great and pattern cards are good tools
for workshops and daily use, it is difficult to always use them in daily life. How can we makepattern languages something that comes to mind easily in daily life?
One way is to create stickers with the pattern name and pattern illustration and put themon any flat surface, such as the cover of laptop computer, tablet PC, schedule book, cosmetic case, or wall. The stickers can remind you of the patterns whenever you look at themduring the day. The sticker not only sticks itself to the flat plane but also can stick the corresponding pattern about life in the mind of the individual.
I have designed pattern stickers for the Learning Patterns, the Collaboration Patterns,
and the Presentation Patterns (Figure 18). These stickers were given to participants at
the PLoP2013 (20th Conference on Pattern Languages of Programs) conference and at
ORF2013 (Open Research Forum 2013). Figure 19 shows some of use cases of the participants who received stickers.

220Pattern Language 3.0 and Fundamental Behavioral Properties

Figure 18: Pattern Stickers

Figure 19: Making use of Pattern Stickers
In the near future, I want to create 3D objects that present patterns in the real world using
digital fabrication machines such as 3D printers and laser cutters. The research and practiceof creating new pattern objects that fit naturally into surroundings while being reminders ofpatterns are one of several new frontiers.

8.3. Web system for sharing quality
In pattern language workshops, participants exchange their vivid experiences related to thepatterns that are being examined. Through the dialog, participants can feel the aliveness ofexperiences related to the patterns. However, there are few opportunities for workshops,
and it is not possible for a reader of a pattern paper or book to communicate with others
as they read.

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We realized that a new system for sharing personal experiences and feelings of aliveness isthe key to dissemination and real application of pattern languages. Therefore, we designeda system that supports people in grasping and sharing the aliveness of personal experiences through a pattern language, and named it the “Feeling of Life System” (FoL) (Iba et al,2014).
This system lets people express themselves using photos and stories, sharing the alivenessof personal experiences as they relate to each pattern. The system can store the alivenessand continue to share it. Photos show the scenes or objects that invoke the aliveness, or the
feelings or objects that express personal feelings. These types of stories tell about real life.
The system attempts to personalize a pattern language that is initially universal by using thesystem users’ own photos and stories. As Alexander said, “A language gives you back yourconfidence in what seemed once like trivial things” (Alexander 1979, p. 545), and to “express
life” with different patterns repeatedly helps people realize their aliveness.

Figure 20: An Overview of the Feeling of Life System (FoL)
The FoL system has three functions: expressing, storing, and sharing. While these threefunctions are basically different, they impact and give power to each other, so the system
can be called cyclic. System users will get piecemeal growth by expressing and storing, orbeing inspired by others and, then expressing new feelings or actions (Figure 20). We also
demonstrated the system, “The 4th Place,” as an example of the FoL system, which uses theGenerative Beauty Patterns, a pattern language for one to live lively and beautifully eachday (Figure 21).

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Note that a more functional system to keep using a pattern language, the Pattern Diagnostic System was developed by Isaku et al. (2013).

Figure 21: “The 4th Place” system for the Generative Beauty Patterns as the first prototype of the
FoL system

9. Fundamental behavioral properties
Christopher Alexander outlined the core properties of the hidden qualities of buildings in
his book, The Nature of Order. He pointed out that a living whole consists of “centers,” which
are parts that make up the whole, and that the whole becomes lively when the centers synergistically intensify each other (Alexander, 2002a). He organized how centers intensify eachother into 15 geometrical properties, known simply as the „fifteen properties“ in The Natureof Order: 1. LEVELS OF SCALE, 2. STRONG CENTERS, 3. BOUNDARIES, 4. ALTERNATINGREPETITION, 5. POSITIVE SPACE, 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, and 15. NOT-SEPARATENESS (See Figure 22,
an illustration of the geometrical properties, which I presented in Iba & Sakai (2014)).

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Figure 22: Fifteen Fundamental Geometrical Properties
Recently, there has been a movement challenging the application of these geometrical properties as things other than architectural, e.g. workshop on the Pursuit of Pattern Languages for Societal Change (PURPLSOC) and even within the software community. However,Alexander’s properties focused primarily on geometrical, physical objects, such as buildings
and items found in nature. Thus, it is still unknown whether they can be applied to things
that are hard to perceive, such as human actions or society.
Based on the background, we have identified and defined fundamental behavioral properties within the wholeness of lively human activities; similar to the way in which Alexander
defined the 15 properties based on his theory of wholeness and centers (Iba et al., 2015b,
2015d; Harashima, et al, 2015). In order to find these properties, we analyzed human action
patterns that we had created in the past. In The Nature of Order, Book 2, Alexander says thata pattern language is an essential way to define generic centers (Alexander, 2002b). The
implication is that it is possible to capture centers by investigating pattern languages. Basedon his idea, we could capture the centers in human activities from the patterns and discover
the properties based on their commonalities.
Thus, the basic strategies would be to investigate pattern languages of human action inorder to find out the mechanisms that create the liveliness behind each pattern; verify theuniversality necessary for the properties of the mechanism by checking if they can describe
liveliness in other patterns; and finally, express how the discovered properties generate the224Pattern Language 3.0 and Fundamental Behavioral Properties

mechanism for liveliness by illustration and description while thinking about the relationship between the properties.
Through the investigation process, we discovered these 24 fundamental behavioral properties: 1. BOOTSTRAP, 2. SOURCE, 3. SPREADING, 4. ATTRACTION, 5. INVOLVING, 6. TOGETHERNESS, 7. BUILDING UP, 8. ORGANIC GROWTH, 9. REFLECTING, 10. ACCOMPANY,
11. ENHANCEMENT, 12. EMPATHY, 13. SELECTION, 14. SIMPLIFICATION, 15. CONSISTENCY, 16. LOOSENESS, 17. FLEXIBILITY, 18. ABUNDANCE, 19. ENDEAVOR, 20. CONNECTING,
21. POSITIONING, 22. DIFFERENTIATING, 23. OVERLAPPING, and 24. CONTINUOUS RELATION (See Figure 23, an illustration of the behavioral properties (Iba et al., 2015d)).

Figure 23: The 24 Fundamental Behavioral Properties
The 24 behavioral properties can be used mainly for three purposes: pattern mining, pattern writing, and designing. First, these properties can be used to indicate patterns fromexperiences or episodes shared at pattern mining interviews or workshops. As behavioral
properties describe the properties of lively human activities, understanding them makes
it possible to estimate how actions from the experiences or episodes imbue each activity
with life.
Second, properties are also useful for accurate verbalization of how the pattern contributes
to make the activity lively. Behavioral properties are the properties of how centers inten-

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PURPLSOC: Designing Lively Scenarios With the Pattern Approach of Christopher Alexandersify each other to create the liveliness of human activities. Therefore, it helps the writer tocapture the centers in the description of a pattern and to understand how those centersintensify each other to create the liveliness of that activity so that the writer can improvethe description.
Third, other than for patterns, properties can also be used for designing. Even if there are
only a small number of patterns already written in a certain domain, there should be plentyof lively human behaviors that have not yet been converted into patterns. It is possible torecognize the wholeness by identifying the centers of behavior and how those centers intensify each other.
Geometrical properties and behavioral properties are not just properties that appear inarchitecture, nature, or in human activity but two viewpoints may can be used for capturing
lively phenomena in general. We anticipate that these properties can support people toexperience aliveness and wholeness of phenomena.

10. Conclusion
Thirty years ago, Christopher Alexander said, “The house is no longer an ‘object’ which is manufactured, but a thing of love, which is nurtured, made, grown, and personal” (Alexander,1985) and therefore “families would design their own houses” (Alexander, 1985). Similarly,
our life is “a thing of love, which is nurtured, made, grown, and personal” and, therefore wewould design our own lives. It is my hope that the studies presented in this paper will stimulate people to work for future innovation in pattern language methodologies.

11. ACKNOWLEDGMENTS
I would like to thank to Richard Gabriel, Joseph Yoder, Rebecca Wirfs-Brock, Linda Rising,
Mary Lynn Manns, Jenny Quillien, Hajo Neis, Howard Davis, Ralph Johnson, Lise Hvatum, Bob
Hanmer, Christian Kohls, and Christian Köppe for encouraging our quest to create a new
type of pattern language. I want to thank Reinhard Bauer, Peter Baumgartner, and Helmut
Leitner for inviting me to be the keynote speaker at a PURPLSOC conference. Finally, mygreatest honor goes to all members of Iba Lab at Keio University and collaborators for theirwonderful collaboration.

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Peter Baumgartner | Tina Gruber-Muecke | Richard Sickinger (Editors)

PURPLSOC
Designing Lively Scenarios
With the Pattern Approach of
Christopher AlexanderEditors: Peter Baumgartner, Tina Gruber-Muecke, Richard Sickinger
Book Design, Page Layout and Editorial Staff: Ingrid Muthsam, Wolfgang Rauterwww.purplsoc.org
info@purplsoc.org

Creative Commons Licence CC-BY-ND
creativecommons.org/licenses/by-nd/4.0
Printed in Austria
Krems, October 2016

Every effort has been made to make this book as complete and as accurate as possible,
but no warranty or fitness is implied. The information provided ist on an „as is“ basis. The
authors and the editors/publishers shall have neither liability nor responsibility to any person or entity with respect to any loss or damages arising from the information contained inthis book. Responsibility for the information, licencing and views set out in their articles lies
entirely with the authors.

2

PURPLSOC: Designing Lively Scenarios With the Pattern Approach of Christopher AlexanderThis book focuses on the pattern approach established by the Austrian-born Christopher
Alexander - architect, mathematician and philosopher, and collects selected papers on work
presented at, or related to the PURPLSOC World Conference held at Danube University Krems,
July 3 – 5, 2015. PURPLSOC is the acronym for “In Pursuit of Pattern Languages for Societal Change”,
a series of (roughly) biennial conferences on patterns in and with disparate fields such as architecture, design, media, arts, IT, management, pedagogy, social activism, social innovation anddiverse grassroots movements.

Editors:

Peter BAUMGARTNER is a full Professor for Technology Enhanced Learning andMultimedia at Danube University Krems

Tina GRUBER-MUECKE is the head of the Educational Technology Research Center
at Danube University Krems.

Richard SICKINGER is head of the Special Field for Conceptual Architecture at the
Department for Building and Environment at Danube University Krems.

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