problem-understanding

The cultural turn in the discourse of urban studies and attention to maintaining cultural diversity in the structure of cities has raised the concept of intangible cultural heritage as a serious matter in the cities. According to the 2003 UNESCO convention, intangible cultural heritage includes knowledge and skills, representations and actions that communities, groups, and individuals recognize as part of their cultural heritage. This issue includes inherited traditions, social activities and actions, rituals, general knowledge and actions related to nature and the surrounding world, which are closely related to the sense of identity and belonging, cultural diversity, and memory and lifestyle in the structure of the city. Fewer theoretical discussions have been raised about the issue of intangible urban heritage. This study leaves aside the discussion about what is called visible and tangible heritage and focuses on its source and origin, that is, intangible heritage. The main scope of this research is a theoretical and conceptual attempt to reach a more expanded definition of the inherent characteristics of intangible heritage as a language of understanding that refers to different dimensions of knowing and understanding the urban problem. In addition, this study discussed the dimensions of understanding intangible heritage in the urban landscape based on Gadamer's opinions about the dimensions of understanding, which are related to the three concepts of language, time, and place. Considering the adaptability and self-regeneration potential of intangible heritage, as well as the capacity to accompany the contemporary and modern trends of urban life and the connection with popular culture and everyday life, it can be expanded as a contextual experience and a social and cultural order of a society. Therefore, reading "the new intangible heritage" is considered a vital problem for the "new social order" in cities.

Researchers in the field of Design-Process have focused on effective techniques to enhance creativity in the design of many studies. This leads to a focus on the effects of two techniques: metaphor and analogy. This research has challenged us to take consideration about: "Is the effectiveness of these techniques in all the activities of the design process to the same extent? Whichever metaphor and analogy techniques play a more meaningful role in which part of the design process?Nowadays, skills in innovation and methods that improve the knowledge of the design-problem have emerged as main features for designers. Metaphor is frequently expressed as a key role for enhancing creative design. Few empirical researches have been performed on how junior designers can use it within their performances.A metaphor is a figure of speech for rhetorical effect, directly refers to one thing by mentioning another. It may provide clarity or identify ambiguous similarities between two ideas. A metaphor also is containing an implied comparison and allows us to understand one concept in terms of another, enriching our mental imagery and imbuing concepts with meaningful attributes. Reasoning embraces the retrieval of a known concept and its application to an unfamiliar situation.The analogy is a cognitive process of transferring information or meaning from a particular subject (the analog, or source) to another (the target), or a linguistic expression corresponding to such a process. This means that the analogy is an inference or an argument from one particular to another particular, as opposed to deduction, induction, and abduction, in which at least one of the premises, or the conclusion is general rather than particular nature. It can also refer to the relation between the source and the target themselves, which is often a similarity, as in the biological notion of analogy. As a result, two kinds of knowledge would be attained deep knowledge of the design problem, and deep knowledge of many other kinds of natural and artificial objects from/to which one may analogize.The purpose of this article is to study the research related to analogy and metaphor. Moreover, research related to the design process or its parts, in order to positioning each of these two techniques in teaching the design path. The methodology of this research is based on library studies and logical reasoning. In the first step, studies related to the design process, banner design training in Iran, and metaphor and analogy are collected and classified. This is followed by reviewing the content of these studies, the focus of each one on the different parts of the design process is identified and their final result reached with the same sensitivity. The most important result of this study is that metaphor and analogy are considered as effective techniques in creative design education. Metaphors in the stages of analysis and synthesis (understanding the design and concept production) and analogy in the stages of synthesis and evaluation (solving and promoting the problem or Concept Development) is more effective.

In the field of architecture, one of the branches of knowledge is design studies that studies on the design process. Researchers in this field have used various concepts to explain the designer's mental processes, one of them is the guiding principles. The guiding principles refer to the principles that the designer believes in and uses them to framerate and understand the priorities of the design problem. These principles, which rely on the design worldview, create a kind of unified approach fordealing with various design issues. Much of the research done in the design process and the role of the guiding principles in it has focused on architects and students who have been trained in urban environments and have faced design problems in the city. However, vernacular architecture in rural environments has very different coordinates and architectural production methods have valuable themes that can be extracted and studied. Vernacular architecture is an architectural style that is designed based on local needs, availability of construction materials and reflecting local traditions. At least originally, vernacular architecture did not use formally-schooled architects, but relied on the design skills and tradition of local builders.
Therefore, the main question of this research is that what are the guiding principles in the design process of a vernacular architect and what are their content?
To answer this question, Seraj- Mahaleh village was selected as an example alongside the body tissue and native social tissue. Sarej-Mahaleh village located in Kolbad district of Golgah city, 5 km from the city and 20 km from Behshahr city. Then five of the native architects of the region were identified. In the following, the architects presented three design issues with the theme "House" and they were asked to talk about their design. These words were recorded in semi-structured interviews and then analyzed by qualitative content.
The overall structure of this research is based on a qualitative method. Qualitative research methodology is generally referred to as research, whose findings are not obtained through statistical processes and quantifiable purposes. Qualitative research is a broad methodological approach that encompasses many research methods. The aim of qualitative research may vary with the disciplinary background, such as a psychologist seeking to gather an in-depth understanding of human behavior and the reasons that govern such behavior. Qualitative methods examine the why and how of decision making, not just what, where, when, or "who", and have a strong basis in the field of sociology to understand government and social programs.
In order to clarify the subject and gain better result, studies and backgrounds of this research, the sources and research backgrounds have been divided into two areas of study design, and rural house.
Concepts extracted from these interviews show that being in harmony with nature, avoiding longevity, long-term customer and user satisfaction, as well as respecting neighborliness, is one of the most important principles that always comes into the face of the design problem of native architects. The guiding principles have a strong limiting role in the design process of vernacular architects. Every design issue does not start with a white tablet or null mind. Each designer has a specific worldview and carries a set of beliefs, values, and attitudes that we call "guiding principles."
The relation between this approach to guiding principles versus non- vernacular architects is a topic can be considered in future research and it provides more complete understanding of design in the native environment.