جستجوی مقالات مرتبط با کلیدواژه "طرحواره" در نشریات گروه "هنر و معماری"

Design thinking 1 is related to disciplines such as architecture, industrial design and art and is also discussed today in the disciplines of engineering and management. Design thinking, as the main tool of designers' creativity, has always been considered as one of the pillars of architecture education and many factors have played a role in strengthening or weakening it. These include: culture, gender, age, parenting styles, school and occupation. One of the factors that can weaken the architectural design thinking is the maladaptive schemas of the mind that have received much attention in recent years and its harms in various areas, especially in the field of relationships and social interactions, have been studied and less Its impact on design thinking and specifically architectural design thinking has been discussed.Research question: In this regard, the question arises: What is the relationship between architectural design thinking and incompatible schemas?Objectives of this research: The purpose of this research is 1) to understand the relationship between architectural design thinking and incompatible schemas 2) to create an introduction to understand the effect of incompatible schemas on architectural design thinking and its possible harms.Research

The research method in the first part is descriptive, which introduces the idea of architectural design and incompatible schemas, and in the second part is an analysis based on logical reasoning that by studying theoretical foundations and analyzing concepts, the relationship between architectural design thinking and schema. Incompatibilities are inferred.The most important findings and conclusions of the research: In this paper, in order to obtain the relationship between architectural design thinking and incompatible schemas, first the nature of architectural design thinking was examined and it was found that architectural design thinking is formed from the interaction of two types of thinking, namely creative thinking and critical thinking. They run the architectural design process in parallel and at the same time. The purpose of architectural design thinking is to create the initial generator of its design and development until the formation of the final product, which can be achieved through the interaction of creative thinking and critical thinking, relying on the designer's memory. The memory of the designer has a dynamic and active structure in architectural design thinking and consists of a complex and intertwined network of mental schemas. The analysis of the characteristics of the primary generator and the classification of the types of schemas showed that mental schemas do not have the same characteristics and some of them are present in architectural design thinking, one of which is the incompatible schema. By identifying the types of maladaptive schemas and their place in architectural design thinking, it was concluded that maladaptive schemas, by disrupting creative thinking and critical thinking, weaken architectural design thinking. In creative thinking, incompatible schemas, by being in the position of basic schemas, due to their rigid structure, prevent the acceptance of new concepts and ideas and reduce the flexibility of the mind, and in critical thinking, by being in the position of benchmark schemas, It will lead to misinterpretation of the problem, errors in evaluating new ideas, and the creation of pseudo-critical thinking.

Results of contemporary research in discourse of type and typology indicate that there are number of conflicts in definition, nature and concept of type and typology in architecture as a unique abstract image presenting a group of buildings. This is an exaggerated statement in the field of architecture, type represents a group of architectural components that has been identified to follow a certain mechanism in the course of collecting and classifying it. Type provides facilities to preserve and recall experiences as a concept and tools, linking the past to the future. Type, therefore, can be seen as the faculty for retaining and recalling architectural experience. But, according to this definition, some experts consider the physical aspects of types, while others study metaphysical and intuitive features of it. For example, In Rossi’s point of view, form stands only on physical basis rather than ritual. Also, He has reduced typology exclusively to the field of urban analysis. For Rossi, empty form has become the essence of architecture. In the other hand, some researchers believe, type is necessary as a remembering device for architecture. Its record is the history and the collective human memory of architecture. The essence of architecture transcends its builders time or era. Society demands a historical continuity in architecture for its cultural framework and for the lessons learned in building techniques. The notion of type then, can be seen as a method of historical continuity in architecture that links the past to the future, and with its surrounding context and culture.
This study seeks to find the true meaning and historical evidence-based definition of type and typology, which allows the presence of physical body and metaphysical aspects (architectural backgrounds, experiences, architects, building residents and non-material concepts) together. In this paper, the analytical – descriptive methods is utilized to introduce and criticize the contemporary ideas and a proposed definition of type as an abstract image constructed by physical body and scheme, is presented. Considering the proposed definition of type and typology, Talardar houses, as a type of vernacular houses in Taft city will be analyzed. Finally, because of biological history and formal concept of "type and typology", the term of "Dastgāh" (Architectural Modal System) is proposed. In the other words, due to type’s nature, term of “architectural modal system” is closer and more appropriate for the word of type in architecture. In an architectural modal system, the material and non-material aspects have attended as mass and space language. In addition, the architectural modal system can be presented as a national model system and vernacular modal system such as: musical modal system that on a national scale has limited number, but on a local scale with a scheme of national modal system, according to place and time to take a unique form. The ability to identify unique aspects of national and vernacular modal system as well as boundaries of diverse architecture in the different regions is an outstanding feature of this definition and proposed method of type and typology

Within the domain of education, the design process is presumed by educators, as important, if not more, than the final design product. The reason lies in the fact that the very aim of design education is the enrichment of the students’ thinking processes, in their progress from given design problems to solution proposals. And more, to enable them to identify the compatible problem solving strategies for various problem types. An insightful means to that end is supposed to be the encouragement of students to orderly document their thinking processes, in what could be called a “Process Book”.
The process book documents the progression of a project from design brief to design solution. It includes all the stages of the process from primary investigations through to design drawings and sketches, written notes, diagrams, images of 3D study models, and the final design alternatives.
The present article introduces a research conducted to evaluate the effectiveness of the process book, as well as the ways it could be enhanced, in architectural design education.
The theoretical framework has been configured upon the assumption that application of the process book, in line with the objectives of the design studio, will facilitate the students’ design thinking processes. The effectiveness of the tool is theoretically endorsed by two theories of “cognitive load” and “schema” in educational psychology.
The research reflects, and heavily draws upon a nine-year application of the process book in architectural design studio1 of BArch. program, at Ferdowsi University. Three groups of architecture students, who were experiencing and/or had experienced the application of the tool, participated in separate surveys. The students’ perspectives of the process book were collected in two stages, using open and closed questionnaires. The questionnaires were outlined on the basis of two research questions: 1. What are the efficiencies and deficiencies of the process book?
2. How can the effectiveness of the tool be enhanced?
The results of the data analysis, on the whole, supports the before mentioned assumption. To be more precise, the application of the process book, from the viewpoints of educational requirements, helpfulness and effectiveness, attained positive feedbacks from the participants. So, given the results driven from the data, it could be maintained that the process book, as a useful educational tool, is worth being recommended. It is well capable of decreasing the unnecessary cognitive load of students to the benefit of creating mental schemata from the subtleties of the design process.
In order to enhance the effectiveness of the process book, two following deficiencies need to be resolved: 1. Limitation of easily encompassing some types of representations (3D models, digital files, and the like)
2. Impeding arbitrary and fertile shifts of attention between various representations of design activity, despite the chronological structure of the process book.
To solve the above deficiencies, further research undertakings should focus on devising and testing the necessary modifications in the design and structure of the process book.