In architectural design, representation tools are often compared according to their alleged effects on the creativity of designers. Moreover, their mediating capacities are often mythicized, to such an extent that one might surmise the direct transmission of the mental images from the designer's consciousness to an external representation. In this speculative essay, we demonstrate that the process of representation at work in architectural design originates from the designer's consciousness natural cognitive ability, rather than from the use of a specific mediation tool between the designer and his environment, between the mentally constructed architectural project and its representation. The effects of any tool of representation—analog or digital—on our perceptual apparatus depend primarily on the cognitive mechanisms affecting the discontinuous flow of internal representations formed by our consciousness. In other words, we propose to shed a new light on these limitations through the heuristic modeling of an architectural project designer confronted with his own cognitive biases, and the limits of the representation processes. In the present essay, the discontinuities and uncertainties inherent to the processes of representation are reintegrate in the models.

在建筑设计中，表示工具通常根据它们对设计师创造力的所谓影响进行比较。此外，它们的中介能力常常被神话化，以至于人们可能会推测心理意象从设计师的意识直接传输到外部表现。在这篇推测性的文章中，我们证明了建筑设计中工作的表现过程源于设计师的意识自然认知能力，而不是设计师与其环境之间、心智构建的建筑项目和之间的特定调解工具的使用。它的代表。任何表示工具——模拟的或数字的——对我们感知装置的影响主要取决于影响我们意识形成的内部表征的不连续流动的认知机制。换句话说，我们建议通过建筑项目设计师的启发式建模来阐明这些局限性，这些设计师面临着自己的认知偏见和表示过程的局限性。在本文中，表征过程中固有的不连续性和不确定性在模型中重新整合。以及代表过程的局限性。在本文中，表征过程中固有的不连续性和不确定性在模型中重新整合。以及代表过程的局限性。在本文中，表征过程中固有的不连续性和不确定性在模型中重新整合。