جستجوی مقالات مرتبط با کلیدواژه « idea » در نشریات گروه « هنر و معماری »

Problem statement: 

Design ability is one of the most critical and complex cognitive abilities a person has tried to cultivate. Designing requires a complex mental process of the ability to obtain many types of information, combine them into a coherent set of ideas, and finally, create a realized form of those ideas. This article explores the formation of the concept in origin and reaches the main design by describing important subcategories and factors such as design education, sketches, creativity, geometry, and the examination of prominent examples. In this regard and using previous studies, it has been tried to reach a conclusion using the origin of concept production. Considering the undeniable role of concepts in the design process, this fundamental question is raised whether it is possible to theorize the formation of the idea (basic design) as well as the existing void before reaching the final solution in the minds of designers (architects). Today, there is a question of whether there is a connection between opinion and will to build objects (architects).

The purpose of the research: This research aims to fill the gap between opinion and practice in architectural projects and theses. At the core of these studies, a clear and developed view of the nature of ability has been formed to design and develop talents. From this point of view, the ability to design is considered a facet of human cognitive skills that every person benefits from to some extent. The initial idea initiates the creation of the master plan, and the development of the master plan will lead to the final project.

This research is of the fundamental research type and is based on the qualitative research method and the causal research approach (intuitive discovery). The authors drew upon experiences in architectural design education to analyze and use logical reasoning. For this purpose, the general studies about the subject plan, the literature, and the subject’s background are discussed. The evaluations, the required software, the necessary hardware, the work steps and the process of the assessment and tests, the required techniques, and the examination of various parameters are explained. In the next step, the first component, the production of the concept (preliminary design), and the design findings have been introduced.

It can be said that concepts are an intuitive aspect of the architectural design process because they are a mediator between the designer’s inner and outer worlds. The main design is the connecting factor between the idea and the action in the design, and the gap created between the two can be repaired by discussing the development of the main structure.

This study aims to explain the idea-product correlation in the process of evolutionary construction and computational approach. This research is based on the criterion of purpose in the group of applied research, based on the criterion of time of data collection in the group of survey research. The statistical population of this study includes people who have a history of research and study in this field and the information obtained through this has considerable validity and reliability. The sample size in this research using SPSS SAMPLE POWER software is equal to 200 people and Sampling method in this study is simple random sampling. Data analysis tools are questionnaires of SPSS & AMOS software. In order to test the research hypotheses, the first-order sample test and factor model have been used. The findings of this study showed that; Achieving the solidarity and coherence of the idea-product process at the present time depends on the correct use of the evolutionary construction approach and the computational approach. The variables in the designer include conjecture, evaluation, and decision making, while the computer-dependent tool variables include performing complex calculations and presenting multidimensional and complex designs. In the present age, despite software advances as well as the use of various approaches such as evolutionary construction and computational approach, designers are less successful in linking their ideas to the final product.

Presently, the closeness and sense of belonging between the architectural work and the audience are less felt. The essence of architecture is an amalgamation of sciences related to the man-made environment and specified teachings. The supremacy of the consciousness under the effect of external factors has led to modifications in indigenous styles and architecture and a lack of association between ideas and products in m buildings. The current study aims to assess the “idea-product” correlation in the process of evolutionary construction in traditional Iranian caravanserais as one of the most successful Iranian architectural structures and appraise the realization of the idea in the final product. Consequently, this research is “applied” and it has an “explanatory” nature. To study more precisely, via the qualitative content analysis method, the evolution of traditional caravanserais in Iran has been studied and the results designate that, to a large extent, in traditional caravanserais of Iran, idea indicators are realized in product indicators. So that the material and artificial nature index in the form of naturalism and climatism, the culture index has been achieved in the form of contextualism, the planning index in the knowledge-based form, the psychology index and spiritual needs in the form of semantics, the philosophy index and worldview in the form of semantics, the semiotics index in the form of symbolism, performance index and economic affairs in the form of functionalism index, social needs index and participation in the form of collectivism index, and finally technical affairs index and construction method in the knowledge-based form.

In purposive architecture in the field of environmental interventions, there are many details of size, shapes, combinations and certain mysteries that distinguish architectural elements, even in a single society. Reflection in the mysterious urban biological system, originates from the debate of thought and intuition, reason and love, and knowledge and insight. The present article explores the explanation and revelation of an ancient pattern that has linked many of our architectural elements throughout history.An archetype with “Up-Down” concepts that has reflected from the people’s imagery into the in urban architecture space. In the meantime, the question arises that what is the connection between these ideas, behaviors, the value system and the human living space system, especially in cities? To achieve this, the content analysis method is used. First, the relationship between the elements is conceived qualitatively and afterwards, the relation between the phenomena is explained by selecting the study areas and surveying citizens based on the semantic differentiation method. The results indicate that the idea of perfectionism and movement towards peak and perfection (up and down) in Iranian literature and culture has always been present and the association of its meaning in people’s minds, has led to the formation of a specific spatial arrangement and urban living system.

Indeed, every architectural design idea comes from somewhere or is inspired from some points. Thus, there is a source for ideation. Architectural designers are constantly faced with ambiguous and complex situations. Therefore, their minds usually fly to a given point after encountering design problems, and the preparations and requirements of the ideation appear as a function in the design process. Ideation can be involved in all stages in a thinking cycle, including innovation, development, and the realization of an idea. Although there are some essential notions in the architectural design process that are not easily distinguished separately, each of them has its exclusive meaning. Some of these seemingly similar definitions including, an idea, a concept, a primary generator, or an initial generator; and, architectural contributors such as designers, professors, instructors, and the students who are under the education of architecture in an academic institution or university use them a lot. This mentioned issue illuminates the importance of the vital role of ideation in the architectural design process. Besides, providing a worldwide cognition of ideation and its crucial role in the architectural design process can lead researchers to accomplish a variety of comprehensive investigations. After introducing the ideation as an essential activity in the design process, some questions should be answered. For Example, what are the sources of architectural design ideation, and what are their contributions to the process of ideas’ forming? Responding to these mentioned questions, an article entitled “the sources of architectural ideation, focusing on the professional architects’ ideation processes” has already been pursued. The present research, has made an effort to answer the above questions by focusing on the architecture students' ideation process in different academic degrees and years. In this way, a more realistic view of the ideation sources comes in to picture, and it becomes possible to compare the expert and novice designers' performance. For the field studies of this present essay, the ideation of architectural design processes of 121 architecture students of Shahid Beheshti University was examined as the case studies. As the subjects of this statistical analysis, these selected students consisted of the first-year undergraduates to the four-year undergraduates studying in their bachelor’s at that time, and the first-year and the second-year students of master’s degree. After completing the data gatherings, categorizing, and analyzing, the primary sources of ideation among the architectural students were appraised based on the influential factors in idea production. These are the factors assigned to the design problem, and the factors assigned to designers. In other words, it turned out that their ideation sources were divided into two categories of “design problem-oriented factors” and “designer-oriented factors”. Furthermore, their shares were defined after the descriptive and extrapolative statistical analysis of gained data. It showed that the design problems factors have a higher contribution to the idea formation of the students. Although this finding corresponds with the research of the professional architects, among the students, the ratio of the "design problem-oriented factors" to the "designer-oriented-factors" is impressively higher than the expert designers.

Designing is a creative activity that entails creating something new and useful that never existed before. Design is one of the most complex types of problem-solving that involves different aspects and components. In general, design training should be innovative, dynamic, and advanced. In architectural education, it can be realized that sometimes students are unable to convert theoretical knowledge and theory into practical and objective exercises, due to inadequate training and the lack of students'' awareness of educational goals. One of the primary goals of architectural education is to train competent, creative, and critical-thinking designers. The design studio is a major concern in architectural education, and designers spend most of their time in design studios discussing design and study techniques. Basic training courses, including the courses for designing architecture, are very important for students to acquaint students with architectural design components. One of the keywords that architecture students should be familiar with the design process is the concept. In architecture, the concepts are how physical needs, environmental conditions, and beliefs come together to form an important part of the architectural design process. One of the main concerns of architecture novices in these lessons is how to choose a concept and an idea that is appropriate to their specific design subject. The second semester of Preliminary Architectural Design education is one of the basic lessons that the concept is educated in Iranian schools of architecture. The main attempt was to gain the conceptual design hierarchy in the course of introduction to Architectural design and the dominant conceptual design approaches in students’ work.

What is the conceptual design hierarchy in the second preliminary architectural design? What are the predominant approaches to conceptual design in students'' projects in the second preliminary architectural design?

The principal objective of this research is the analysis of the concept and idea and how to educate the concept in architectural design studios.

This study is based on quantitative and qualitative research. The statistical population in this research is the students of the Second Preliminary Architectural Design of the Universities of Urmia. Data collection was done through studying library resources and observing the works of students and interviewing with the faculty members of the architecture. In this course, the exercises performed in one semester, and then the students’ designs have been analysed qualitatively. Afterward, the interviews carried out with professors of architecture, as well as reviewing the background of similar searches in library resources.

Idea to represent the concept will be possible in different ways, including the use of line concepts and space modeling. The results express that the dominant tendency of architecture novices is formal, functional, analytical, space-oriented, or a combination of them, which can be called dynamic design, in which the purpose is to create designs with meanings and to answer the requirements of problems. To create conceptual designs, it is necessary to study the subject and extract the concepts for design. In the next step, it is necessary to select an appropriate method for designing and finding a suitable solution for demonstrating the concept in design.

The most problem in architecture world is caused by neglecting of the meaning aspects in design, because meanings are creating, identity, beauty and enjoyment of the architecture. Semiotics as the most important meaning factors, can be effective in upgrading sense of place for better relationship between architecture and users. semiotic means the science that searching the social function of signs and finding solutions for creating of meaning by structures of signs. This science having activity in three main level. These levels are ‘the study of signs, ‘the relationship between signs’ and ‘the knowing and reading of audiences’. ‘Knowing and reading of audiences’ aspect is very important in design process and ideation, because architecture as a grid of signs like every connecting thing is covering the collection of sense and concept, that transiting to the users and audiences by the intra-textual relationship. . For the using of semiotic, it’s should be attention to ‘human’, ‘time’ and ‘place’ factors that are effective on mental images and perception. The human factors of perception are formed from physiology, psychology, collective behavior, individual behavior, sense of place and sense of social. The place component are form, scale and function. Historical background, individual experiences and social incident are factors of time components.While the imitation and coping of samples are overcome mostly that this is resulting to lack of identity and social culture. The literature review shows that previous researches concentrate on process aspects for example saying the references of ideas, introducing the creation idea’s position in designing process. So meaningful approaches in idea are needed. This research uses the path and factor analysis for obtaining the goal of designing process correction in ideas levels by semiotic with perceptions of users. The first question is ‘what are the effective factors on the ideation of designing process by semiotic approach. The second question is searching the relationship between effective factors of designing process by semiotic approach. Population of interest in this research are experts and users of architecture designing education. The way of sampling in research is randomized cluster sampling. The amount of sampling is 200 person through teachers and students of Tehran universities. survey research way are used by questionnaire as the tools. The questionnaire as tool of paper is got by discovering information and data of the group of professors by the Delphi and documentation method. Delphi method is accomplished in 3 levels. The way of analysis of reliability in this research is Cronbach’s Alpha. Construct validity, content validity and facial validity are used in research. The sampling are doing between architecture students and their teachers in the famous universities of Tehran. The model shows that “semiotic” is the independent variable. Factor of “ideation” is the dependent variable and ‘psychology aspects and aesthetic aspects are moderator variables. The result shows that “research based analysis”, “aesthetics aspects”, “psychologists aspects” and “collective perception based evaluation of signs” are the effective factors in creation of idea process by semiotic approach. The most important factor that connecting components of ideation process by semiotic approach, is ‘perception’ of the signs.

The paper focuses on the design subject. The matter of what is design and how it is work has always been the concern of theorists and researchers. In the meantime, it is a significant issue that rather than the existence of a single theory, we have a variety of views and context of the attitude. When uncertainty arises, we are confronted with a phenomenon that is not linear and cannot be perceived just through the logic. Some find metaphysical aspects, some have examined unconscious from the psychological point of view and others have a mystical look at the issue. As a designer and audience, this unknown aspect of design can be mysterious, stimulant, frightening, or enjoyable. Design as creativity arises from designer’s individual physical and mental world, it is created by imagination, measured by science, and once again returns to the imagination. A set of internal and external components is involved in design. Recognizing this design space and its transformation is what matters to us. An approach is process-centered. In addition to studies on the characteristics of physical space, mental space’s characteristics are also should be studied. We consider this mental space to be the same as the imaginary space of the designer. Direct access to the imagination mechanism is impossible, but we can try to explain its effectiveness on the structural levels. The research method is a synthesis of narrative and hermeneutic-phenomenological analysis.it is process-oriented and focuses on the design process. The research is based on a set of connections and interactions. creativity should be relying on the imagination. It is a lovely escape with no limits. in imagination, everything is possible. It is an experience of freedom. Everyone’s having a unique imaginary space that is quite different from others. A series of individual elements forms the characteristics of this space. in a design process, designer flows in continuous transition between this imaginative space and physical space.

The process of manufacturing production is not too hard to understand, and is not so easy that everyone know how it begins and where it should be finished. But the obvious matter is the production which is obtained and its name in architecture is objectification to subjective ideas and manufacturing the tangible elements. In fact, the history of transforming idea to production is related to the caveman and it has thousands years antiquity. By appearance of computer, the human can make it help them. Nowadays, especially in recent decades, the computer-aided experience makes their eyes open in new areas. Although some of the computing approaches are not positive and good for them, but we focus on the positive parts of this fact. Now we must answer to some questions: would computer sit on the architectural position? And doesn't design process need to architect as a producer? Also there is some another question that where is the front ring between the traditional and modern architecture? And does computer-aided approach play the same role as a linker factor? Finally, it is necessary to say that the nature of this research is explanatory; also, considering the holistic subject, the main approach is operative.

One of the most exciting periods for architectural designers in design research is the time in which design ideas turn into a major design concept. This period is called “conceptualization” and it may occur differently in different projects. Studies show that there are several levels of idealization involved in developing a design concept. Many basic ideas related to each goal of the designer for his/her project contribute to the development of the most comprehensive concept which is called a design “parti”.
This article takes a close look at the subject of conceptualization in the design process of architecture. There are two main sections which form the structure of this article. The first section, using descriptive as well as analytic methods, introduces the two most regarded design process approaches in architecture: the step by step approach also called “systematic”, and the interactive approach called “environmental”. This section also reviews four major design methods frequently used by architects. They are called: analogic, typologic, pragmatic, and theoretic methods.
The second section, using survey method, investigates the relation between the design process and design methods used by 30 grade-one architectural consultants in Tehran and 350 undergraduate students of architecture at different universities in Iran. As far as the function of the projects, the three most applied functions were chosen as: residential, office/commercial, and educational projects. In order to investigate about the preference of each group in using design process and design methods in each of the three categories, some questionnaires were developed and collected from the professional group as well as the student group. The responses of the participants were analyzed by SMART-PLS software.
The results of the research indicate that both groups of professionals and students tend to use more “systematic” approach in their design process, and “pragmatic” design method in their projects. In an analytic view, one could compare the preferred design process and design methods used in each group:In the students group:In residential projects: there is a desire to use “systematic” approach with “pragmatic” method, “collaborative” approach with “analogic” method, and “interactive” approach with “theoretic” and “analogic” methods.
In office/commercial projects: there is a meaningful relation between “systematic” approach and “pragmatic” and “typologic” methods, “collaborative” approach and “analogic” method, and “interactive” approach and “analogic and “theoretic” methods.
In educational projects: there is a meaningful relation between the “systematic” approach and “pragmatic” method, “interactive” approach with “theoretic” method, and “collaborative “approach and “typologic” method.
In the professional consultants group:In residential projects: there is a desire to use “systematic” approach with “analogic” and “pragmatic” methods, “collaborative” approach with “analogic” and “pragmatic” methods, and “”interactive” approach with “theoretic” and “analogic” methods.
In office/commercial projects: there is a meaningful relation between “systematic” approach and “analogic” and “pragmatic” methods, “collaborative” approach with “analogic” and “typologic” and “pragmatic” methods, and “interactive” approach with “analogic” method.
In educational projects: there is a meaningful relation between “collaborative” approach with “analogic” method, “interactive” approach with “analogic” and “theoretic” methods, and “systematic” approach with “pragmatic” and “typologic” methods.

In recent years and mostly in the shadow of modernism thinking in architecture and urban fields, some buildings and contexts have been emerged which their developers are, more than anything proud of their Avant-Garde and unique creations and even their whimsical features. Insistence of modernists on creating environments with same standards and different characters for people, has led to bewilderment, chaos, confusion and triviality in modern urban environments. However with passing of the time and clarification of the issues related to developing constructions without paying attention to the culture and history of nations, the necessity of thematic review led to start of new investigation in searching original basis for constructions and environmental elements which could reconnect the people and their local environment. With the rise of discussions in Environmental Psychology, history, native culture and etc., Archetypes were proposed as one of the most important and determinative aspects in designing human-built environments. Archetypes are defined as ‘The Basic, Original and Sustainable Ideas’ which is the result of thousands of years of history, experience and human collective memory which has been stored in human’s unconscious memory. Likewise in the cultural zone of Iran with all the past history, such basic ideas and various archetypes must have existed in order to integrate different social groups in this large and colorful society through relatively coherent set of environmental elements. Therefore this article is an effort to answer to the related questions; can the model and bipolar idea of ‘Up-Down’ be defined as an archetype or basic idea in Iran? Does the possible existence of this idea only belong to the past? Is this idea present at human environments and models of architectural and urban environments in the present time too? For this purpose, besides mentioning the meaning of Subjective/Objective axis of Up-Down and its vital relation with linguistic concepts, worthiness and behavioral patterns and templates of various local architecture environments, the existence of this archetype or basic idea is proved via research in different samples and cases and its application has also been analyzed here. The method used here is Descriptive Analysis, and in particular; Content Analysis and inferential Analysis. Research data have been quantified and analyzed using Cochran formula and the questionnaires have been distributed by random sampling method for each case, and the data has been descriptively analyzed. The results of the surveys show that our perception of traditional and even modern environments is still influenced by linguistic concepts and basic ideas and the Archetype mentioned in this research has an unmistakable presence in our life today.

Focusing on producing urban and architectural form and space، this article explores the design process. It reviews several methods of design and narrows them all down to a major method known as “Analogy”. In fact، the article concludes that “Analogy” has been one of the main methods of design for designers. They have mostly tried to find an “Analogy” between the outcome and elements of design including the “site”، “program”، “case studies” and “themes” of the project. This way of design، based on “Analogy”، may vary from direct and objective to indirect and subjective techniques and almost covers all other methods discussed by theoreticians. Researches around design process are mainly emphasized not later than 1945. Encouraged from new scientific methods on one hand، movements emerged through a series of seminars in England during 1960s and 1970s and expansion of creativity techniques on the other hand; the design procedures underwent serious studies. Since creativity is a genuine and better way (Faruque 1984) and a power to find an unconventional and perfect solution for an issue as well as a new look at the realities and a process for breaking pre-assumptions (Guilford، 1967)، the subjects expressed in the design method have either faced criticism and/or، the writings in this area are usually presented in a generalize form in order to escape from the cliché making and conventionalism criticism. Even though in the view of some، death knocked the door of design process in 1970s; however، in 1980s، it was revived especially in engineering and industrial design fields. Thus، in order to study the process of producing forms and spaces، first the design procedure and its general dual stages; that is analysis and compositions have been studied and reviewed through the above mentioned backgrounds. In continuation، those methods have been compared in the views of some theorists and successful works of some contemporary architects as well as their design methods have been criticized with the above-mentioned methods and subsequently، the design and architecture form production is revised. The main findings of this research show that “Analogy” as evaluation and assessment of final form (composition) with the analytical categories (analysis stage) is one of the main stages and factors in architecture form production، and based on imagination and image of the designer، it could be used in the design procedures directly and objectively or indirectly and subjectively. As an “Analogy” has internal and external degrees، the analysis categories could be distinguished from inner degree (plan and site) to external degrees (case studies and phenomena). In another word، the “Analogy”، in this study، is demonstrated to be Meta-method or one of the main methods of design and other techniques can be easily classified into different levels of “Analogy”، from direct/objective to indirect/subjective ways of “Analogy”. For instance، discussed methods of design in this article such as pragmatic، programmatic، and essence techniques can also be known as direct and objective methods of “Analogy” while canonic، ideal، metaphor methods might be considered as indirect and objective “Analogies”.

Study of the factors that are affected by the expansion of creative powers organizes creation of new, eternal and permanent artistic works by relying upon modern ideas and methods. The element of creativity can be formed and processed in nature of the individuals who enjoy logical and wise conditions. To learn more about this, emergence of creativity is an acquired process and a potential affair in human beings. Psychological studies are a solid evidence of the said issue that obtaining awareness and skill through training and also attaining experience for materialization of this issue is a necessary and fundamental principle for improving creative power. Although elements such as taste, motivation, talent, experience, genius, and visual memory are necessary for all individuals who are active in artistic fields, thay are by no means enough. Accordingly, the existence of illustration is of paramount importance in works of illustrative artists, for, the output of an illustrative work as a visual narrative will have a direct relationship with wide spectrum of addressees in various ages and different specifications. If this relationship is associated with a predefined approach, undoubtedly, an unforgettable and memorable event will be created for addressees of the work. nurturing the mind and imagination power for the enthusiasts of illustration has been cited as the main objective of the research. this research can help them (enthusiasts of illustration) visualize their mental ideas and imaginations and also experience new visual discoveries. Library and field methods have been used in this study for data collection from online resources, if necessary. The results of this research show that artists, for emergence of their internal perceptions, should pave a suitable background for raising creative power and ideological knowledge.

Indeed, the design process is the collection of steps that a designer,consciously or unconsciously,takes to achieve the solutionof the problem.In fact,what is important is not the design itself,but the process to do it.Considering the theoretical researches in this field,in architecturaleducation,the design process is one of the most importanteducational steps thatis necessary to notice some of the design process phases in details.Considering that students in architecture and design ateliers and during design process become confused about creative design process such as imagination,concept and also about converting it to a plan,this study,with the aim of pathology,focuses on concept and how to convert it to a plan.In this research,some basic ideas related to topics such as architectural design,design procedures,concepts and the goals of architectural design courses through libraryresearch,have been accurately known and the evaluation criteriafor research samples was extracted.Examples of this study have been chosen among the students of two'' Architectural Design 3 ''ateliers and have been studied for two consecutive semesters.The results of this study identified main challenges facing students in creative concept and converting it to plan procedures in architectural design ateliers, and,as to strengthening thedivergent thought in architectural design process, it can provide strategies for those involved in architectural education,including teachers and students.