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Tuesday، 23 May 2017
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P Note
A Methodological Approach toward Design Process

Shima Baradaran MohajeriThe architectural design is recognized today as a process of revealing rather than the instant culmination of a creative mind. In this process the work of art unveils the truth on the way towards reality [1]. Thus, the design process requires a creative knowledge at the initial stage to understand the mutual presence of designer as a creative thinker and the environment as a studied subject. This process is going to be clear through a transparent field visible for everyone following this route.
The process-oriented concept is derived from the contextual mind in postmodern philosophy that emphasizes on contextualism for construction of meaning, as opposed to the modernist result-based view [2]. Since there are diverse interpretation for a single phenomenon in this content, there exists different routes needs to be examined. That creates a fluid situation of intersubjectivity- the state of being within subjects- leads to a domain of multiple perspectives.
In this context, the designer disappears gradually in between, as his mental imagery starts to activate. So the absence of creator coincides with the presence of conceptions creating a sense of dynamic, multidimensional existence. After the images rendered in mind, they start to evolve through time and space. And this evolutionary process in which spatial images find their ways toward a lived place is the matter of concern.
From Ideas to Concepts
So as the ingenious mind stimulated by anything related to the world of image, it holds a sense of unconscious, amorphous and dynamic entity. In this situation the mental images start to exist, passing through each other, trying to attain a definite identity. It seems that the images are above each other. There is no spatial distance between them. So there is no time needed to be spent to pass from one to another. They have stuck together while they have apparent, isolated identity. They form each other …
As long as the mental images are ready enough to set off - releasing from the soul- they begin to conceptualized on the basis of a material-like phenomenon. At the time they seek for noble, spatial existences. Here the imageries turn in to visual images conveying conceptual meanings on the midway between dream and reality. This conceptual in-between space seems to construct the very content of design process through personal mediums such as preliminary models, virtual cybernated simulations or seemingly two dimensional sketches. These visual devices can be invented individually to achieve a particular purpose and has to be controlled by the designer in producing spatial quality.
This fluid transition from abstract conceptions to the real experience of life which contains human behaviors, his relation to the environment and the mental field of abstract meanings, is being particularized but still remains uncertain for further transactions. Therefore, the way one express his ideas through the conceptual space forms one of the determinant phases in design process.
Meanings through Conceptual Imageries
Being inside the space of conceptualities, the process of logical, analytical thinking begins. Through this critical vision the patterns, principles and meanings come to the fore. Here the conscious power of decision making start to manifest itself. In this stage the designer come up with certain entities among a vast range of contexts. Thus he has to take decision on what to acknowledge and what to ignore. Then, in a network of relations, the meanings and concepts being sublimated and prepare the ground for the existence of a continual structure.

[1] Heidegger, Martin. Poetry, Language, Thought, Harper & Row publishers, New York, 1971.
[2]Wilson, G. Brent. The Postmodern Paradigm, Educational Technology Publications, University of Colorado, Denver, 1997.

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