At the end of our career as a student of architecture, we seem to finish school with a vocabulary of architectural forms would be a start bit to respond to the needs of the project. This is not because the forms are not available, but due to the current methods for obtaining these forms is not very efficient. As a result, in the role of design professionals, we tend to tackle projects that are very different from other forms of the very same building that has been a pleasure and familiar.
The architectural practice and education, the acquisition of the concept is required but rarely taught. More often than not, it is not directly taught about the essence, in a way that little by little as the rest of these experiences on a case study in the design studio.
There are several reasons that have been left behind in the design of the principles of core design activities as a requirement for "creativity" have been skewed to enhance the attitude of "hands off" to Both the acquisition of the concept of education in and systematic aspects of the concepts are available, as one aspect of the preoccupation by maintaining induviduality in the architecture of the student's paradigm of the synthesis.
From some of these factors are shared has left us without a set of theories that were developed on the concepts or the acquisition of concepts. The subject matter is rarely aimed directly at the architectural level although required students in his studio.
A Description of the acquisition of the concept as a system of thought processes as a major entry into the unconscious student infinitely complex, with no hope immersed in cloudiness and analysis against is probably true.
Somehow in the design ideals of architecture students earn the misconceptions that reuse and apply the concepts learned what is appropriate is not creative, a form of self-plagiarism and an admission that he does not have the ability to shape ideas "on his own". An attitude that has developed design strategies learned through the journey, screened from the history of architecture, seen from the magazines and Tested in the studio is used ultimately unable to work now or in the future. Designer of the "true" must refuse himself to use outside sources when looking for concepts for the project. This is nonsense.
Creativity Arises from know more, no less. Designers have to absorb as much as he can from as many sources as possible to equip itself to produce his best projects. There is a legitimate and proven alternative to dealing with performance requirements in the form of the building project. It may be very foolish to hold out to try to design while wearing a blindfold, recreating the fundamental strategies and famous and refuse to use the vocabulary of the existing concepts. Authenticity in design arise from making these ideas in the form of so that it can be creative, combined, modified and used creatively to produce things that are completely new. The teachers design must take an attitude of "pass" to the students in the teaching of architectural concepts and encourages students of architecture in order to more actively seek disclosure and use resources is good and reliable.
There is no doubt that the solutions to the different buildings are the same set of project requirements to be a great source of stimulation and useful lessons in the design studio. The nature of the validity of this learning tool is sometimes seen as a protection of the individuality in the design of an architecture student, a perception of the destruction of the student architecture, Concept -the concept of the rank directly.
The discussion in the studios about the acquisitions and the expansion of their concepts of their vocabulary to the concepts of one's own architecture should not diminish their ability to produce solutions of different buildings. Similarities in building designs in studio is more likely a result of a program that is strictly organized project. A type of building standards organization that is very close to the building project.
May be difficult to resist the belief that environmental influences and toward a building when it is used all the techniques, methods, processes and theories related to design activities are mostly geared to yield structures that cause the expected consequences.
The validity of the study design is found primarily on the implementation and use of building-building work. Sometimes there is a feeling by those who put together this attitude that too much use of theoretical methods that lead to a sense of complacency to its own interests in architectural education. This may be the real situation, but it is important not to react hastily to reject all efforts on the development of theory. Experienced designers DAPT for sure looking at the relationship between the acquisition of concepts with positive qualities and negative physical building eventually.
Greater emphasis on the development and teaching of concepts is one of the most effective ways to master the consequences of building more fully and to ensure that the consequences are as desired and predictable. Of course this is a task to develop a sensitive feedback mechanism along with techniques for comprehensive evaluation of the building continuously examine the validity and relevance of design concepts to the reality of the buildings were erected and inhabited.