THE FEATURE MANIPULATION AND COGNITION

IN CONTEMPORARY VERNACULAR DESIGN

Ming-Huang Lin*, Chien-Wei Teng**, Yu-Min Fang***

*Institute of Applied Arts , National Chiao Tung University, Ta Hsueh Road, Hsinchu, Taiwan 300, ROC
**Graduate School of Design, National Taiwan University of Science and Technology, 43 Keelung Road, Section 4, Taipei, Taiwan
***Graduate School of Design, National Taiwan University of Science and Technology, 43 Keelung Road, Section 4, Taipei, Taiwan

Abstract: This research applies the ‘feature-matching theory’ to explore the relation between an object’s
spatial dimension and human cognition, taking Chinese kettle design as a case study to examine how the
contours of a vernacular object dominate its identification. By manipulating the character of each component
with computer 3D morphing and replacing methods, thousands of rendering are generated between one
typical universal kettle and five typical Chinese ceramic teapots for programming and testing people’s
cognition. It was found that ‘modern’ and ‘revival’ designs are not significantly relative, and the distinctively
vernacular design in contemporary simplicity format is more popular than homogenous international ones.
Keywords: design cognition, computer-aided design, product design, design method, perception

1. Purpose crucial, though often overlooked [1]. While expressing the

By the end of the 20th century, our consumer markets
were full of international styles and homogeneous designs.
Even vernacular designs have been threatened by
globalization, revealing the potential capability of national
character and cultural values diminishing with society hardly
being aware. Taiwan, recognized as a region of
manufacturing industries, has been producing all sorts of
goods for the international market. Unavoidably, great
influence from western design and technology has led to an
extreme situation in which Taiwanese look forward to the
west and ignore what we have in hand. Many of products on
offer are foreign designs or dishonest fakes. Traditional art
and craft aesthetics are rarely taken into consideration in
industrial design practice. ‘Is this the phenomenon of the
more modernization, the less cultural identity?’ We believe
that vernacular cultural legacy needs to be married and
brought to the fore in design.
John Heskett argues that respecting cultural differences
and planned understanding of changing cultural patterns are
importance of the cultural dimension of globalisation, the
meaning of globalisation to him is cultural multiplicity
rather than homogeneity, culture creation rather than cultural
derivation. Kenneth Frampton suggests that regionalism is
not retrogressive, but a way of considering design by forging
local character from the choice of material, symbolism and
acknowledgement of context [2]. To inherit tradition is a
process of re-selection and rediscovery, and is a creative
transformation of tradition into the present according to
contemporary technology and regional social conditions.
This research takes Chinese teapots as case studies to
systematically explore the possibility of their application to
contemporary kettle design.
2. Considerations for applying CAD and appropriate
improvement
In order to scientifically and systematically explore this
issue, we chose CAD (Computer-aided design) as a tool to
help deal with this sophisticated creative problem. There are

1
some considerations which need to be addressed clearly at
the beginning, including (1) what is the limitation of the
computer-aided design system and how can it be applied in
this specific study design; (2) how do people recognize a
national or vernacular style; and (3) how do we respond to a
specific native feature compared to others? These relevant
concerns need to be tackled before approaching the study.
2.1 The limitation of applying CAD to creative behavior
In computer-aided design, the aim of many studies was to
help analyze what people feel about an object by semantic
difference while simultaneously searching for the way to
generate a new shape. The basic concept is to agglomerate
the forms of an object and their image feelings together to
establish the relationships between them and then to
computerize the design work based on these relationships.
Many combinative methods have been proposed such as
Kansei Engineering, fuzzy theory, shape grammar,
multidimensional scale, gray theory, neural network theory,
morphing method and so on [3-9].
Will these methods be enough for generating a new design?
There are several limitations and conceptual guidelines in
these researches that need to be taken into account. First of
all, in the real design world the essence of design is creativity.
Thus, these kinds of designs cannot be achieved by just
inserting an interposition within two existing designs. An
‘innovative’ surprise cannot be expected. Secondly, the
relation between a design and its form is complicated. How
people feel about an object’s form is related to its shape,
materials, colors, and the treatments of details, not to
mention its function. The simple replacement of the
components and adjustment of the contours do not have a
strong impact on their semantic distances. If the selections
and variances of components are restricted, the application
of computer-aided design system will be inefficient. Thus
objects with certain history in its design development would
be better study cases because they could offer more abundant
references. Thirdly, the interface of the system for selecting
the form should be easy to operate and offer prompt
feedback, and, ideally, have time recording. The reaction
time can help us to measure person’s response for certain
component or feature.
2.2 Object recognition
Being aware of the ability of CAD and relevant studies,
the following questions are now considered: how do people
recognize a national or vernacular style? Where is the cue for
the recognition? It is not surprising to look for relative
2
fundamental knowledge from visual perception; however,
cross-disciplines study in design is hardly mentioned. The
typical recognition research in visual perception is focused
on the mechanism of recognition, the issue of ‘how people
read the image’ and ‘how people make a judgment of what it
is’, especially the letters of the alphabet, simple objects, or
the human face. Feature analysis models were popular with
psychologists and computer scientists during the 1960s, and
the most influential model was Pandemonium system [10],
originally devised as a computer program to recognize
Morse Code signals, and a more popular model of
alphanumeric recognition by Neisser (1967)[11], and
Lindsay and Norman (1972) [12].
The object recognition in the natural world, rather than an
artificial one, is well described by Marr and Nishihara’s
(1978) theory [13]. Their theory suggests that complex
occluding contours formed from objects comprising several
generalized cones are segmented at regions of shape
concavity. For example, a human figure can be described as
a set of generalized cones corresponding to the trunk, head,
arms and legs; and at a finer level, the details of toes can be
seen as a set of much smaller cones. This information
description leads to a hierarchy of 3D models. Recognition
is thought to be achieved when a match is established
between a 3D model description derived from an image, and
one of the stored catalogues of 3D model descriptions
corresponding to know objects. Thus a human figure can be
matched to the general model for a biped, and the relative
lengths of the component axes in the model description for
biped can further distinguish ape and human. It is not
difficult to see that this is very fundamental hypothesis much
concerned about the structure of objects. Another theory
proposed by Biederman (1987) has also described complex
Figure 1. A hierarchy of 3D models, Marr and Nishihara (1978)
Figure 2. A catalogue of 3D model descriptions at different levels
of specificity, Marr and Nishihara (1978)
objects as spatial arrangements of basic component parts
[14]. However, in his scheme, these parts come from a
restricted set of basic shapes such as wedges and cylinders.
He developed 36 basic shape primitives to cope the most
daily objects and called them “geons” (geometric ions).
These hypotheses obvious consider both the bottom-up
process and top-down feedback and do not depart from the
principle of Gestalt psychology which is concerned with
patterns of experience as wholes and that a whole is different
from the sum of its parts.
In addition to the key stimulus (features) in the simple
mechanism of recognition, concepts involved in more
complex recognition process. These fundamental
assumptions and models in psychological research offer the
essential considerations with the minor variables controlled
in the simple recognition cases. They provide basic
knowledge for dealing with the more complicated design
case involving subtle cultural perception, in which our
problem is much like distinguishing between two persons
rather than between humans and apes.
2.3 Concept cognition
While object recognition theories focus on the physical
stimulus, the studies of the categorization in our mind look at
similar issues from another angle. Quillian (1969) developed
a model of teachable language comprehender (TLC) to
suggest that human knowledge is structured in a hierarchical
network [15, 16]. According to this model, an experiment
was conducted to measure the “semantic distance” by
reaction time responded to the questions such as ‘canary is
canary’, ‘canary is a bird’, ‘canary is an animal’, ‘canary can
sing’, ‘canary can fly’, and ‘canary has skin’. The result
showed that when the compared units (canary, bird, and
animal) were located at the higher level, the more time was
spent and also when the compared features (sing, fly, and
skin) were located at the higher level, the more time was
taken.
Figure 3. TLC model suggests that human knowledge is structured
in a hierarchical network, Collins & Quillian (1969)
3
Figure 4. Response time to the sentences, Collins & Quillian
(1969)
Smith, Shoben and Rips (1974) submitted another
semantic feature model to suggest that human knowledge is
structured in a multidimensional space (MDS) [17]. Unlike
the hierarchical network, every concept is located at a certain
location, and the semantic distance between two concepts
can be measured by their spatial distance. Different from
TLC, in this model a concept is represented by arrangement
of the features, which can be divided into two classes,
defining features and characteristic features. For example,
the defining features of sparrow can be seen as something
‘with wings’, ‘with feather’, and ‘able to fly’, all features a
bird has; the characteristic features can be seen as something
‘perching on the tree’, ‘with a little mouth’, ‘jumping rather
than walking’, all the unique features different from other
birds. When responding to a comment likes ‘canary is a
bird’, people need to compare features of the two concepts to
decide their similarities.
Although these psychological research projects have
different purposes from ours, the method of time recording
in the experimental design and the concept of characteristic
features divided from defining feature offer very valuable
considerations in this study. Actually, in many design
studies, the method of measuring the meaning of design
objects is similar to Smith’s model, especially that adjective
descriptions are applied to the semantic differences (SD) and
further to the multidimensional scale (MDS), for example,
the numerous research into Kansei Engineering in Japan
(Nagamachi, 1995) [3], and the research in multidimensional
space[4-9].
3. Construction of database
3.1 Grasp of the defining features and characteristic
features
Being aware of the study subjects and the concerns of the
computer-aided design system, this research takes Chinese
teapots as the study objects for designing a ‘new’ kettle bodies (by simplifying the original shapes while keeping the
because they are universally popular objects with a certain features) are assigned as B10 to represent the shapes of the
image of styles and have a long history of evolution. bodies, which looks like a bell (T1), a calabash (T2),
According to the theories of object recognition and concept face-to-face dishes (T3), a Chinese hat (T4), and a
cognition, the teapot can be divided into two levels of hexahedron (T5). The results of the transformations
features- defining features and characteristic features. In between B0 and B10 by the morphing method are listed
this case, one kettle is divided into four components gradually by the order of B1, B3, B5, B7, and B9. B1
consisting of ‘body’, ‘handle’, ‘lid’, and ‘spout’ and they are represents that the shape of body is the result of the merger
seen as defining features. Because the body is the largest 70% of B10, and B5 is made of 50% of B0 and 50% of B10,
component that might play the decisive role, it is locked in as B7 is made of 70% of B0 and 30% of B10, and B9 is made of
a key element for study. Thus the program selects one 0% of B0 and 10% of B10.
typical universal kettle and five typical Chinese ceramic
teapots as the references with which to build a database for Table 1. The type of kettle bodies with morphing pictures
the body, and the typical types of these Chinese ceramic
teapots are seen as characteristic features in this case. One
universal kettle is selected among the 178 examples of
universal kettles in design books, magazines, and the
Internet by classification, analysis, and discussion. Five
classic Chinese ceramic teapots are selected to represent five
different styles (Wu, 1998) with their own characteristics.
Then the other representative components are also chosen in
their typical categories from all designs as listed below (see
Table 2, 3, 4).
3.3.2. Handle
In Table 2, there are six types of the handles classified
3.2 Characteristic feature on replacing and morphing
from the collection, including side handle (H1), top handle
dimensions
(H2), side open handle (H3), top handle with front open (H4),
Without considering color and material, 3D models of the
top handle with back open (H5), and across handle (H6).
kettles are assembled by each component in 3D-computer
The pictures in the reference column represent their typical
software. By manipulating the contour of each component
styles, and simple illustrations present their typical shapes
between the universal kettle and each Chinese one using
and locations.
computer 3D morphing technique for the body and replacing
method for other components, thousands of rendering Table 2. The type of kettle handle with references and illustrations
images are generated between one typical universal kettle
and five typical Chinese ceramic teapots. The morphing
pictures of the bodies are produced by 7-step isometric
calculations and the accompanying components are replaced
by category. The bodies of the kettles are of similar volume
and other components are located at in the correct heights
and angles.

3.3 Component analysis and design configuration

3.3.1 Body
In Table 1, the picture in the left column represents the
universal kettle and its computer-rendering image of body is
assigned as B0 in each row of the next column. The five
typical Chinese ceramic teapots are located in the right
column, and each of their computer-rendered images of

4
3.3.3. Lid
In Table 3, there are four types of the lids classified from
the collection. It includes lid independent from the body
(L1), lid dependent on the body (L2), plain lid with a knob
(L3), and plain lid with hidden knobs (L4).
Table 3. The sort of kettle lids with references and illustrations
3.3.4. Spout
In Table 4, there are five types of the spouts classified
from the collection, including one arc spout (S1), three arc
spout (S2), straight spout (S3), long spout (S4), and beak
spout (S5).
Table 4. The sort of kettle spouts with resources and illustrations
3.4 Component modeling
This study uses the Alias Wavefront to build all of
computer simulations by NURBS. The body is constructed
by revolving a profile curve to produce the surface. Because
of the different complexities of the bodies, some need only 4
Control Vertexes (CVs) and 2 Edit Points (EDs) to achieve
the features and contours (Figure 5a), others might need 14
CVs and 11 EDs to achieve the same quality (Figure 5b). In
order to extend the morphing requirement, all bodies are
5
built by 14 CVs and 11 EDs, the most complicated process.
And also for the same reason, in order to get the morphing
images of body between T5 and universal one, in this
specific case, the program both builds 11 circular and
hexagonal curves and then uses ‘Skin’ command to shape the
surfaces (Figure 5c).
Figure 5 (a) A simple body needs only 4 control Vertexes (CVs)
and 2 Edit Points (EDs) to achieve the features and contours; (b)
The most complicated one requires 14 CVs and 11 EDs to achieve
the same quality; (c) In this specific case of the morphing image of
body between T5 and universal one requires 11 circular and
hexagonal curves
For modeling of the lids, basically the sizes of the lids
follow the sizes of body, and keep the same curvature in the
specific L2 case. And again the lids are built by revolving
the profile curve. (see Figure 6）
For modeling of the handle and spout, the ‘Boundary’ and
‘Skin’ commands are used to build the surfaces according to
their various features.
Figure 6. Modeling of the lid
3.5 Morphing and assembling components
After all the components were built, these files were
imported to 3D studio Max. By operating some functions in
this animation program, various morphing images of bodies
are automatically generated. By assembling the images of
bodies and various components consisting of lids, spouts,
and handles, it shapes various kettles. In order to get the best
proportion for rational and appearance requirement in each
combination, the sizes of the components and connecting
points between components must be adjusted by hand, for
example, the height and angle of spout and handle. A total
of 4200 (7x5x5x4x6) pictures were made and classified into
an image bank. Figure 7 show one example of the gradual
changes of kettles in morphing and replacing dimensions
with the same types of handle (H1), spout (S1), and lid (L1).
Figure 7. The gradual changes of kettles in morphing and
replacing dimensions with the same types of handle (H1), spout
(S1), and lid (L1)
4. Overview of the operation system
4.1 The experiment interface
After all the rendering images were generated, they were
ordered and inserted into a program for testing people’s
cognition. The program, written using Microsoft Visual
Basic, was specifically designed and developed for this study.
Its interface is simple and efficient to use (see Figure 8) and
includes five areas:
A: Display area for interactively recalling the rendering
images made previously
B: Slide bars for adjustment of various components and their
features
C: Task requested
D: Time recording
E: Times each morphing or replacing component appeared
during the operation process
Figure 8. The main interface of the program
6
4.2 Operation and investigative question
When operating the programme, the respondents received
both written and verbal instructions about the task. First of
all, two tasks were assigned to respondents: to select the ones
they see as ‘the most classical Chinese looking’, and ‘the
most modern looking’ in each type (T1-T5) of kettle (see
Figure 9a). Respondents clicked “start” and “confirm”
button to begin and stop their selections. The program
randomly displays one type of kettle among them for free
adjustment (see Figure 9b). After completing the selections
in each type of kettle, they have to answer three questions
(see Figure 9c):
1. Which component influences your selection most?
2. Which component is the most modern looking?
3. Which component is the most Chinese?
And then according to their favourite choice of ‘the most
classical Chinese looking’ and ‘the most modern looking’ in
each type, respondent were asked if any modification of the
component could be made (Figure 9d). The respondents
selected their favourite kettle in the entire program as a final
task (Figure 9e).
Figure 9 (a) The respondent is asked to select ‘the most classical
Chinese looking’, and ‘the most modern looking’ of each type of
kettles
Figure 9 (b) One type of kettle among them is randomly displayed
for free adjustment
Figure 9 (c) After completing the selections in each type of kettle,
respondent has to answer three questions
70%
Figure 9 (d) Respondent is asked if any modification of the 57.6%
60%
component can be made
50%

40%

30% 23.0%
20%
12.0%
7.4%
10%

0%
Handle Body Lid Spout

Figure 10. Body shape most influenced their selection by

respondents, followed by handle, spout, and lid
Figure 9 (e) Respondent is asked to select their favourite kettle in
the entire program 5.2 Characteristic features on the morphing dimension
Because body shape is the most decisive component, here
we will discuss the characteristic features in terms of
4.3 Samplings ‘modern’ and ‘classical Chinese style’. Referring to the
There are a total of 125 respondents in this investigation, second question, ‘the most modern component’, body was
95 males and 30 females. Most of them are 20-30 years old chosen 196 times; referring to the third question, ‘the most
with a college degree, and 63 people had an art or design Chinese stylish component’, the body was chosen 214 times.
background. If we compare the specific kettles they selected in each
degree of the morphing contours in these two questions, it is
not significant to show that these two characteristic features
5. Results are relative (p>0.05, see Table 6).
The respondents’ selections are the various pictures of
kettles with their identifying numbers. These numbers were Table 6. The feature response to the different degree of body
input to SPSS (Statistical Package for the Social Science) for morphing
further analysis. The significant results are described below. B0 B1 B3 B5 B7 B9 B10
Observed
27 21 11 15 33 26 63
Frequency
5.1 Priority of the decisive component Modern body Expected
22 18 11.5 24 30 26 64
Referring to question 1, there are 125 respondents and 5 Frequency
types of kettles, so a total of 625 answers are expected. Observed
20 17 13 35 29 29 71
Classical Chinese Frequency
According to the statistical analysis (see Table 5 and Figure
body Expected
10), body shape was the factor that most influenced selection, 25 20 12.5 26 32 29 70
Frequency
followed by the handle, spout, and lid in that order (P< 0.05). Χ2=9.76, P=0.1352
According to this order, we were interested to see if the
priority is influenced by the sizes of these components or the If the contours of ‘modern’ and ‘contemporarily classical
amounts of various selections because they are in the same Chinese style’ represent the concepts of ‘modern’ and
order as well. However, there is no evidence to prove that ‘revival-traditional in specific vernacular design’, then we
the result is affected by these two variables. could infer that ‘modern’ and ‘revival’ is not significantly
relative in this case, or even ‘modern’ and ‘nationalized or
Table 5. Data calculation of the importance of components
homogenized’ (because participants see B10 is more modern
Handle Body Lid Spout Total
than B0). Thus this suggests that modern is not
Observed Frequency 144 360 46 75 625
Expected Frequency 156.25 156.25 156.25 156.25 625 de-vernacular. (Most Taiwanese see that the concept of
Importance rate 23.0% 57.6% 7.4% 12.0% 100.0% vernacular design as meaning the traditional or early local
Χ2=169.56, P <0.0001 design, opposite to contemporary design.)

5.3 Characteristic features on replacing dimension

When we go further to analyze the replacing dimension to

7
compare the difference among the different types of bodies 5.6 Analysis of other components
in term of ‘classical Chinese style’, there are no significant Because the other components are less important in this
differences (p>0.05, see Table 7), which means each type of case, the results of these three tasks are listed for
body has a similar degree of recognition and none of them comparisons in Tables 10, 11, and 12.
are more representative than others.
Table 10. The comparison of response to three individual questions
Table 7. The representative response to the different body types about handles

Type
T1 T2 T3 T4 T5
Observed
41 49 39 31 54 214
Frequency
Expected
42.8 42.8 42.8 42.8 42.8 214
Frequency
Χ2=3.82, P=0.4314 Table 11. The comparison of response to three individual questions
about lids

5.4 The favorite replaceable type

Referring to the final task, selecting the favourite kettle
among the entire program, if we analyze the results from the
view of the replaceable type of body, they are significantly
different from each other (p< 0.05, see Table 8). The order is
T3, T5, T2, T4, then T1.

Table 8. The preference response to the different body types Table 12. The comparison of response to three individual questions
about spouts
Type
Preference
T1 T2 T3 T4 T5 Sum

Observed Frequency 11 24 45 19 26 125

Percentage 8.8% 19.2% 36.0% 15.2% 20.8% 100%
Expected Frequency 25 25 25 25 25 125
Χ2=12.02, P=0.0172<0.05

5.5 The favorite morphing degree 5.7 Duration and response times
Again referring to the final task, if we observe the results The data analysis of the time spent in each task and the
from the view of the morphing degree of body, they are times participants spent adjusting each component helps to
significantly different from each other, and B10 is the most reconfirm several points. First, the mean time spent by each
popular. (p< 0.05, see Table 9) individual for each type of body is 61.05 seconds and it is
significantly different from 27 to 261 seconds (p<0.05).
Table 9. The preferred choices among the different degrees of body Secondly, it is also significant that participants with design
morphing
background took longer than others (70.92 seconds> 50.97
Morphing Degree B0 B1 B3 B5 B7 B9 B10 Sum seconds, p<0.05). Thirdly, the order of time spent adjusting
Observed
10 12 8 15 22 22 36 125 each component is body, handle, spout, and lid. This
Frequency
confirms the credibility of the results of the responses to
Percentage 8.0% 9.6% 6.4% 12.0% 17.6% 17.6% 28.8% 100.0%
Expected question one in 4.1. Finally, it also shows that the order of
17.86 17.86 17.86 17.86 17.86 17.86 17.86 125
Frequency times adjusting each component is related to the type of body
Χ2=14.35, P=0.026<0.05
(p<0.05).

8
6. Discussion Dynastic (1368-1644), ‘Chinese Chair’ in 1943 and ‘Round
Applying the database for the bodies of kettles in the chair’ in 1949 by Hans J. Wegner, ‘Von Vogelsang’ in 1983
spatial dimensions of morphing and replacing not only offers by Philippe Starck, and ‘Apple Honey’ in 1986 by Shiro
predicable pictures of possible designs (see Figure 7), but Kuramata. Even though different people design them, the
also deals with the cultural issue in cognitive investigation. extension of the style and reflection of the zeitgeist are
According to the detailed distribution in Table 9, the favorite visible. It might also be evidence that culture creation is the
body morphing style in terms of modern as well as classical marriage of re-selection of the key local feature to personal
Chinese style is generally B10. And also there is a trend of re-interpretation of the holistic object.
approval decreasing gradually toward B0, and the least
popular one is B3, B1 or B5. It is possible that the
respondents see B10 as possessing the most distinctive body
contours and that it represents Chinese style. On the contrary,
the contours of B3, B1 or B5 are more ambiguous or banal.
This might suggest that the popularly and acceptably
adapted shape is not the one with universal style or the half Figure 11-15 Classical Chinese Round Chair during Ming
universal and half classical style, but is the simple, classical Dynastic, ‘Chinese Chair’ in 1943 and ‘Round chair’ in 1949 by
Hans J. Wegner, ‘Von Vogelsang’ in 1983 by Philippe Starck, and
Chinese style. The way of modifying here is to simplify
‘Apple Honey’ in 1986 by Shiro Kuramata.
existing components (B10) by rejecting complexity (the
detail and decoration on the surface) and keeping the
Finally, it is clear to see that the manipulation used in this
characteristic features of the contour in the classical style. It
experiment is not suited for complicated objects or those
seems that this is the acceptable way of interpreting the taste
objects with components are strongly linked and effecting
of classical style in contemporary designs.
each other, because the variables in the database would be
very difficult to define and control. Even though morphing
and replacing methods are applied in this study, they can
7. Conclusion
only simulate and insert new alternatives among the existing
To deal with cultural issues in design, this case study
objects in a rational way. This is possibly the main limitation
attempts to bring this old topic up to date comprehensively
of all applications of design database, which easily leads to
with the help of computer-aided design. Although the
narrowing the range of creativity. However this
instantaneous results by re-assembling simplified
conservative method for redesigning an object, especially a
components in morphing and replacing database might
historical and well-developed object, is still very useful. It
produce “neo-classicism” in the end, similar to the principle
cannot be expected to create a totally new design among the
of the “straight revivalism”, one style of Post-modern
various combination and proportions, but it does offer us the
architecture in Charles Jencks’ definition [19], the eclectic
chance to have a better range of selections.
method is still an initial way of developing vernacular
designs and offers alternatives to the homogeneous style.
Generally, we think that most people prefer the modern
Acknowledgements
objects or international styles to the traditional or vernacular
The authors would like to thank the financial supported
ones, but this is not completely correct. It really depends on
by the National Science Council of Republic of China under
how the later have been updated. We found an exception in
grant number NSC 91-2213-E-011-088.
this case study. According to the above results, keeping the
key feature of a component’ contour and rejecting
inappropriate detail and decoration in a vernacular design is
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