Toward an Architectural Self­-awareness based on an Artistic Institutional Approaches

• In spite of the importance of design, the associated study has been incompetently represented as an academic subject and the design involving artistic aspects is isolated from design engaging engineering; this fragmented attitude makes it hard to defined “design”. Regardless the definition, both constraint and creativity shape the characteristics of design. The design is productive and cognitive, individual and collective. According to this attitude, design can be defined as an activity that formulates, physically and mentally, the “environment” of human (designer and user) and the “artifact” interaction. To develop the so called “interaction” it is vital to understand the mechanism of the design and designers’ behaviour and approaches. Although different sorts of models have been produced in order to depict and clarify the design activity, they have not had significant impact uncovering the individual aspects of designers. Design research in accordance with the detailing and increasing the apprehension of the procedure/mechanism of design is essential. The diversity of architectural design utilization is countless; but the architectural thought and the associated execution essentially follow a specific order. In accordance with the nature of architectural activities, it is necessary fuse both “artistic” and “scientific” mentality into architecture; in order to achieve a proper configuration during the architecture conceptual activity the mapping obstructive techniques are essential. Consequently, during the process the result will be more beyond the simple graphical representation, it does not seem easy. Craving to do great technical configuration and the creative Conceptualization outlines, designers try to assess the inventiveness during the design process, particularly in the early phase of layout in accordance with the form and expression. What we call “design process” could imply sundry purports depending on different situations and observers; in the following interview, we have discussed different aspects of creativity and tried to develop the correspondent pre-model including Parisa’s end goal architectural assignment illumination which eventually gave us a conceptual platform which the architect advances through the process; models of architectural design are rather descriptive and emphasize cognitive cycles, whereas in engineering, they are more prescriptive and insist on mandatory sequence of steps. We have also debated different notions of her architectural attitude and artistic intuition, specifically in association with the conceptualization processings.

Ämnesord

HUMANIORA  -- Konst -- Arkitektur (hsv//swe)

HUMANITIES  -- Arts -- Architecture (hsv//eng)

TEKNIK OCH TEKNOLOGIER  -- Samhällsbyggnadsteknik -- Byggproduktion (hsv//swe)

ENGINEERING AND TECHNOLOGY  -- Civil Engineering -- Construction Management (hsv//eng)

Nyckelord

Teknik

Technology

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