بازشناسی نقش ایده و کانسپت در فرآیند شناخت و آفرینش در معماری با تکیه بر علل اربعه

اثر معماری محصول فرآیند شناخت و آفرینشی است که خالق اثر به عنوان علت فاعلی، به واسطه جهان بینی خود آن را رقم زده است. این جهان بینی به عنوان پارادایم معمار نقش اساسی در جهتدهی علت غایی یعنی ایده، علت صوری یعنی کانسپت و در نهایت علت مادی یا بنا دارد. اما آنچه که از اهمیت برخوردار است؛ سلسله مراتب ادراکات و نحوه تبدیل ایده به فرم در چارچوب پارادایم معمار می باشد. پژوهش حاضر همواره در تلاش است با استخراج ماهیت معنایی واژه های ایده وکانسپت (طرح مایه) در پارادایم های غربی، اسلامی و فلسفی، فرایند شناخت و خلق معماری را در قالب علل اربعه مورد تبیین قرار داده تا بتواند تفاوت های سیر روند آفرینش اثر را در دو پارادایم بومی (اسلامی) و غیربومی (غربی) مورد مداقه قرار دهد؛ و در این راستا نوع جهتگیری کانسپت از ایده را در نیل به فرم معرفی نماید.

Recognizing the Role of Idea and Concept in Understanding and Creation in Architecture Relying on the Four Causes

Today, the increasing realities that have occupied architects in other fields related to architecture, have caused the designerchr('39')s attention to deviate from the theoretical thinking that was considered at the beginning of the design process. Architectural software has expanded the visual dimensions of the human mind and created the conditions for the designerchr('39')s thinking to be limited to imaginative forms. Although innovation can be considered the main feature of products obtained from software that go beyond the drawings and in order to create cyberspace, but the product of all of them can not be considered creative works. Because creativity manifests itself with a concept called meaning and theoretical thinking, with designers focusing on the use of computer facilities, although facilitating and accelerating the visualization and visualization of ideas; But this early embodiment is also a threat to the idea and meaning of the truth underlying the work. Therefore, recognizing the process of cognition and creation in architecture is a necessity that must have evolved from idea to form in order to always be able to reveal the damage that has been done to the systemic structure of architectural design today. From the moment an architect decides to create a work until his design is ready for the execution stages, at the heart of his movement is the creative production of an idea and its transformation into a concept and ultimately an architectural product, and in this regard as The whole problemsolving is raised. In other words, the architect is on the path of identifying the problem until finding a solution. The main problem in architectural design is the idea that all creative processes try to achieve this concept, and on the other hand, interaction in the design problem and its solution shows that analyzing the problem and recognizing its various dimensions is the designerchr('39')s mental ability and thought. Strengthens the basis for the solution, the concept. An architectural work results from the understanding and creation formed by the creator as the agent as a result of their worldview. As the architectchr('39')s paradigm, this worldview plays an essential role in directing the ultimate cause, namely idea; formal cause, namely concept; and material cause, namely the architectural work. The important thing, however, is the hierarchy of the senses and the way an idea transforms into a form in the paradigm of the architect. This study seeks to extract the semantic identity of the idea and concept (theme) from western, Islamic, and philosophical paradigms in order to clarify the process of understanding and creating architectural works through the four causes and contrast creation of architecture works in the local (Islamic) and nonlocal (western) paradigms. The goal is to introduce the direction that the concept takes through the transformation of an idea into an architectural work.