نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجوی دکتری معماری، گروه معماری، دانشکده هنر و معماری یزد، دانشگاه یزد، یزد، ایران
2 استادیار، گروه معماری، دانشکده هنر و معماری، دانشگاه یزد، یزد، ایران.
3 دانشیار، گروه معماری، دانشکده هنر و معماری صبا، دانشگاه شهید باهنر کرمان، کرمان، ایران.
4 مربی، گروه آموزشی تئاتر (نمایش)، دانشکده سینما و تئاتر، دانشگاه هنر ایران، تهران، ایران.
چکیده
کلیدواژه‌ها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
The inquiry into how architectural works are formed has given rise to a particular area of study in architecture known as design research, in which the design process holds a unique place and significance. The design takes place in the space of the design problem, and since design problems are inherently complexs, the process of obtaining a possible solution in the space of design problems brings many difficulties, especially for architecture students. This has led a group of architecture teachers to accept the risk of failure or success in teaching design by seeking help from interdisciplinary connections to reveal new perspectives and rethink the design process. The present study aims to provide a framework for using cinematic works in the design process in architectural education.. The main questions of this research are:
“What framework can be developed to enable students in the architectural design studio to utilize spatial experiences from films in their design process??”
“How is this framework reflected in the students’ final design products?”. In order to shed light on the significance of spatial experiences and demonstrate the connections between architecture and cinema, a wide literature review has been carried out. The research method used two strategies of logical argumentation and case study. The context for implementing the case study is the architectural design workshop 3 of Yazd University, consisting of 18 students. The results of this study show that since architecture students often do not have experience using an interdisciplinary connection in the design process; therefore, the framework in question should follow a gradual, phased approach.. The first phase involves giving students exercises related to the field of architecture that implicitly guide them toward the cinematic aspects embedded in architecture. At this stage, student learn to read an architectural work and, in a sense, go through a process of discovery—identifying the cinematic qualities of architectural space. In the second phase, students become somewhat involved with the realm of cinema. Since this is the first encounter, exercises are designed with a predetermined structure and foundation. Here , students gain an initial understanding of film analysis and are introduced to the concept of cinematic space. In the third phase, learners develop a greater ability to navigate the cinematic space and is able to interpret films with greater freedom. Free-form exercises and discussions are encouraged to foster open-ended interpretations and critical thinking.. In the fourth phase, the student has gained a proper understanding of the film and can now combine what he obtains from a film in a new format. Design exercises explicitly related to film interpretation are most effective at this stage.. Finally, the outcomesof this procedure were reviewed in the students' final design.It was observed that students successfully implemented the proposed framework in their design processes to the best of their abilities. Architectural Design Process, Film, Spatial Experience, Architecture Pedagogy, Cinema
کلیدواژه‌ها [English]
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