International Journal of

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Considering the problems facing contemporary architecture in Iran, a better understanding of the meaning of architecture has become necessary. Architecture, like language, defines and facilitates the relationship between Man and his environment. The word architecture both in Arabic (Amara) and in Latin (Architecture), attempts to define the attributes of the maker before determining the characteristics of the product - a fact that points towards a more profound understanding. Thus, it is becoming increasingly important for researchers to define the process of formation (the how of architecture) more than the specific attributes of built form (the what of architecture). In this way, creativity and the different processes by which it is achieved, would gain a higher significance in architectural circles. Using an Endogenous Development model, this article seeks to offer an alternative approach towards architectural design. Accepting the hierarchy in causal relationships and expanding on the concept of elevating hidden meaning up onto the surfaces of expression, this article proposes a model of thought in which design consists of a process starting at the depth of ideas and common beliefs, moving up to the individuals' images and finally arriving at rational and general concepts. It is then argued that this process provides spaces in which it is possible to experience a sense of belonging to place, and even further, it allows users to abandon material belongings to arrive at feelings that occur in sacred places. This article offers the author's own particular teaching as one expression of this model of thought, whereby students start by working with mud and then gradually leave their childhood status to reach full maturity in design. Through this process, they obtain an ability to overcome technical and rational challenges in their projects, moving from "intuition" towards "wisdom", "knowledge" and finally "science" in the material world.

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  In this paper, authors tackle three very important questions that need to be answered if a theory of design is to be constructed. The first is what designers do, Which we attempt to illustrate with the help of case studies and theories of design practice. The second question is what guides designers. Here, authors try to present some of the proposed normative positions about design, to show the similarities and differences between positions and a framework of how they can be categorized. The main (third) question is how the design thinking process can be represented drawing upon on a review of recent studies of design practice and designer's creativity.

  One approach to design thinking is to extract the features of the designers' strategic knowledge, for which comparative studies between expert designers and novices are useful. Also, controlled experimental studies may be adopted in order to understand the nature of the idea generation process.

Finally, the methods of research and representation of design thinking in order to gain a deeper understanding of the designers' creativity are proposed.

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In the developing world, skills in innovation and creative design have emerged as key attributes for graduating designers. Creativity is essential if we want to generate new solutions to the considerable and complex problems in architecture. Metaphor is frequently expressed as a key tool for enhancing creative design, yet little empirical research has been performed on how novice designers can use it within their design. The goal of this study is to empirically research the use of metaphor in the design studio, with a focus on its effects on design creativity and quality. A three-stage method is presented, which allows novice designers to use meanings and metaphors in the early stages of design and idea generation. This method was tested in an architectural studio with two groups as experiment and control groups. The results were evaluated using a qualitative research methodology and a questionnaire was prepared in which the students were requested to assess the use of this method in their design process. Also expert designers evaluated the design outcomes in both control and experiment groups. The results highlight that metaphor is a helpful tool for young designers to stimulate design creativity and has a noticeable effect on design quality factors such as novelty, value, flexibility, usefulness and detail. These research findings have different implication for novice architects and help them enhance creativity and quality in their design endeavors.

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Different approaches and methods are used in the architecture design process that logical and intuitional methods are the most common ones. The role of knowledge in each method is different.  Investigating aspects of knowledge demonstrated the hierarchy from data to wisdom and the interaction of explicit and tacit types, subjective and objective sources, and analytical and exploratory ways of processing knowledge. Logical methods rely more on explicit and objective knowledge with analysis, while intuitive methods rely more on tacit and subjective knowledge that processed by exploratory ways. To investigate the difference between the two methods, we conducted a survey that involved architecture students in two groups of logical and intuitive methods. Results demonstrated that they have different opinions about the role of each type of knowledge, the importance of knowledge in each step of the design process, and the role of sources of information in their design process. We concluded that an integrative method that considers different aspects and integrated interactions of all aspects of knowledge is needed..