| چکیده انگلیسی مقاله |
Problem statement: Imagination plays a complex role in the architect’s design process and the formation of the architectural work. Since the creation of an architectural work requires a multi-layered and interactive process, it is important to know the imagination and the factors influencing it. Imagination, as a part of this complex process, is the architect’s ability to imagine space, structures, 3D designs, and functional aspects. But the design issue and concepts related to it, and on the other hand, while creating a work with an extraordinary form, sometimes prevents from paying attention to imagination and its nature. What are the types of architects’ imaginations in creating an architectural work?
Research objective: The purpose of the research is to identify the types of imagination and its role in architectural work based on the neurophilosophy perspective; which, while responding to the physical needs of the audience, provides the basis for adapting to the audience’s imagination and creating a desirable atmosphere.
Research method: The current research is qualitative, employing a qualitative research strategy (interpretive-analytical), which deals with the description, analysis, and explanation. Collecting data was carried out through library studies and by studying architectural works. The data analysis method is qualitative. Through theoretical foundations literature review and analysis of some examples of the world’s contemporary architecture, the types of imagination and its role were proven. Row House, Carlo Felice Theater, Jewish Museum, Solaris Building, Thermal Baths, House II, Borromini’s Church, 8 House, Guggenheim Museum, and Capsule Tower are selected as examples of architecture.
Conclusion: The findings of the research show that imagination in the creation of architectural work can be placed into ten types: personal, collective, ethical, ecological, embodied, linguistic, narrative, representational, material, and metabolic imagination. The role of each type of imagination, based on the neurophilosophy perspective, can be placed in four categories: mental imagery-based, intentionality-based, novel combinatorial forms of the imagination, and phenomenology-based forms of the imagination. |
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