جستجوی مقالات مرتبط با کلیدواژه
design process in architecture
در نشریات گروه هنر و معماری
تکرار جستجوی کلیدواژه design process in architecture در مقالات مجلات علمی
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This research focuses on the analysis of creativity in the process of architectural design works of the Islamic revolution in Iran. The research methodology is “descriptive-analytic” in the stage of theoretical literature and “content analysis” in the operational stage. The statistical population is composed of four architectural works chosen from “Memar” award winning architectural works in 2001-2017 based on the indices derived from theoretical foundations, i.e. “a. value exhibition, b. creation of ambiguity, c. creation of tension, d. form transformability and deconstruction, e. use of tangible and intangible metaphors, and f. use of paradox and metaphysics”. This study tries to evaluate the creativity indices in the selected samples and seeks to see whether there is any significant relationship between the indices of creativity and the effectiveness of the works and the process of their selection as the superior sample. At the end, the analyses suggest that there is no significant relationship between the effectiveness of these indices in the totality of works and the process of selection as creative works; it seems that the referees of the competition did not have any unique procedure for their selection. Moreover, it is concluded that the ambiguity in the process of design has been against the creation of value; because the effects with higher mean marks in value exhibition, contradiction, order and chaos, fullness and emptiness, lightness and heaviness, natural and artificial, new and old offer lower marks in “creation of ambiguity”. Paradox and metaphysics were of the highest degrees and the factor of “new and old” had the lowest ranks. Given the types of architectural styles of revolution, in terms of form, modern materials and technologies, unique examples of creativity have taken form proportionate to the growth of technology and the relationship of the context and background of the monument.Keywords: creativity, Design Process of Architecture, Indices of Creative Design
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روش قیاسی همواره به عنوان یکی از خلاقانه ترین راهکارهای ایده پردازی در فرآیند طراحی معماری مورد توجه بوده است. قیاس به چهار دسته مستقیم، سمبلیک، شخصی و فانتزی تقسیم شده و دو موضوع انتخاب منبع و انتقال منبع به هدف، در فرآیند قیاس اهمیت می یابد. در این مقاله طی یک پژوهش توصیفی (اقدام پژوهی و همبستگی)، پس از تدوین ساختار مناسب برای روش تدریس قیاسی در دروس مقدماتی طراحی معماری، رابطه انواع قیاس با سبک یادگیری دانشجویان مقدمات طراحی بررسی گردید. گردآوری داده ها با استفاده از چک لیست کنترل ویژگی های قیاس و پرسشنامه فلدر و سالمون انجام شد. در سبک فلدر و سالمون، افراد بر اساس چهار معیار تاملی-فعال، حسی-شهودی، کلی-متوالی و دیداری-کلامی قابل تقسیم هستند. تحلیل داده ها با نرم افزار پی ال اس و روش معادلات ساختاری نشان می دهد افراد تاملی در انجام قیاس سمبلیک، افراد فعال در ایجاد قیاس مستقیم، افراد حسی در قیاس های شخصی و دانشجویان با سبک شهودی در قیاس های فانتزی موفقیت بیشتری دارند. همچنین یادگیرندگان با سبک شهودی در انتخاب منابع مناسب و افراد با سبک دیداری و متوالی در انتقال منبع به هدف قیاس موفق تر عمل کرده اند. نتایج این پژوهش در ایجاد روش های آموزشی جدید در دروس مقدمات طراحی مفید خواهد بود.کلید واژگان: روش قیاسی، قیاس در فرآیند طراحی معماری، روش تدریس قیاسی، سبک یادگیریThe current literature review of design studies indicates the importance of “conceptualization” period during the design process of architecture. There are four major design methods frequently used by architects in the phase of conceptualization. They are called: “analogic”, “typologic”, “pragmatic”, and “theoretic” methods. Analogical method has always been considered as one of the most innovative methods for conceptualization. It is usually considered in four types of: “Direct”, “Symbolic, “Personal” and “Fantasy” analogy. It is important, however, to recognize that there are two critical issues in all analogies: “Identification” and “Retrieval” of selected data source. Two challenging factors in selecting analogical design method are related to the “teaching method” of the educator and the “learning style” of the learner. Learning in design is an internal process that is different for each student. A student’s preferred method for receiving information in any learning environment is considered as his/her Learning Style. Evident show, various learning-style models are employed in design education. The most common learning-style models are known as Kolb’s Learning Style Inventory (1981), Felder-Soloman’s Index of Learning Styles (2004) and Ned Herrmann Whole Brain Model (1989). In their definitions, for example, Felder & Soloman identified eight types of learning styles and place them in four scales of: Active/Reflective, Sensing/Intuitive, Visual/Verbal and Sequential/Global. In the first section, this article using Action Research method introduces a new teaching method in the field of analogical methods. This teaching method is applied over a period of three weeks in pre design courses. The second section, using correlation method, investigates the relationship between the types of analogy and the learning styles used by 100 predesign students at 2 Universities, in Gorgan. Data collection was conducted by using a checklist for comparison between the features of analogy and Felder & Soloman questionnaires.The analysis of the data was conducted by SMART-PLS software. The findings of the Structural equation method in this research indicate that: =Students with different learning styles tend to use different types of analogies in the process of ideas and they got different levels of success in performing analogy. When professors use analogical method or when faced with students who use an analogical method to create their design concept, they should pay attention to their individual differences in the direction of students. =Most students of architecture tend to use Direct and Symbolic analogy in their projects. On the other hand, in learning style field, a strong preference is reported in Active/ Intuitive/ Visual and Sequential scales by the students. =Reflective learners use symbols and concepts for analogy and they are more successful in performing Symbolic analogy. On the other hand, Active learners are more likely to use the available sources and have more success in direct analogy. =Sensing learners is reported more successful in Personal analogy and Intuitive learners make better outcomes in Fantasy analogy. =Investigating design sketches indicates that Intuitive learners act better in Identification and Retrieval of the source of analog. =Sequential and Visual learners have been more successful in mapping and transferring the source into the target.Keywords: Analogical method, Design process in architecture, Analogical teaching method, Learning style
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