Högskolan i Skövde

The parameter, as a variable of differentiation, defines the limits and boundaries of a system and the conditions for its operation. It is through parameters that we are able to produce certain logical relationships between different parts in design procedure. Fundamental to this, however, is the assumption that the object or phenomenawe are modeling is in fact quantifiable. Advances in computational processing have promoted our capacity, and thus faith in the ability, to systematically classify and itemize the world around us. The Parametricism Manifesto concerns itself solely with appearance and arejection of the term Parametricism in certain levels could be clearly visible within the contemporary discourse of Object-oriented and knowledge-based approach that reflects the cognitive attitude of the designer/architect regarding the object-oriented reasoning and analogy. Moreover, instead of having parametric manifestation alternate terms such as digitally intelligent design , algorithmic design, object oriented design , Context-oriented design , Parametric thinking , and even postparametric design have arisen and could be used to describe this vastly differentiated field. What these design theories do share, however, is a predilection and belief in the tool. Nowadays the project fields are information-rich contexts and the tool sets for design are able to interpret, analyze, synthesize and realize these data into the design procedure. This research mainly aims to uncover potentialities of the existing enablers and assistive technologies in context-oriented design in order to have more content-embedded architectural conceptualization solutions.

The term design thinking is used to refer to the study of the practices of working designers (Melles et al., 2006), the methods and processes for investigating challenges, acquiring information, analyzing knowledge, and positioning solutions in the design and planning fields (Meinel & Leifer, 2011) by combining “empathy, creativity, and rationality”. Architectural theory has evolved over time, to reflect the development of new materials, new construction, new structures, new philosophies, new socio-cultural contexts, new scientific findings, and, of course, new technology. As Dorst (2011) emphasises ‘Design Thinking’ has been part of “the collective consciousness of design researchers since Rowe used it as the title of his 1987 book and different models have emerged since then. Nowadays, “Design Thinking” is identified as an exciting new paradigm for adopting designerly practices dealing with complex problems to build up a “conceptual framework”. Architectural logic provides us with a various of approaches toward the reasoning in design exploring potential value of the design process. In this paper the author will move from the architectural process definitions to a broad descriptions of design thinking and its application in the architectural design process. Since the process of design and its logical principles look quite complex, an integral attitude has been introduced in order to elaborate multi-step process avoiding the natural paradox of the sense of a complex statement of Design Process and Design Thinking. It is on this particular aspect of the creative design that we position our work: how to design a software tool support, and even improve, creativity in the early stages of the design? We will restrict ourselves to this in a specific area, that architectural design that we describe in the next section.

• Dorst, K. (2011). The core of ‘design thinking’ and its application. Design Studies, 32(6), 521‐532.
• Meinel, C., & Leifer, L. (2011). Design Thinking Research. Design thinking understand ‐ improve ‐ apply (pp. 1‐12). Berlin: Springer.
• Melles, G., Howard, Z., & Thompson‐Whiteside, S. (2012). Teaching Design Thinking: Expanding Horizons in Design Education. Procedia ‐ Social and Behavioral Sciences, 31, 162‐166.

In spite of the importance of design, the associated study has been incompetently represented as an academic subject and the design involving artistic aspects is isolated from design engaging engineering; this fragmented attitude makes it hard to defined “design”. Regardless the definition, both constraint and creativity shape the characteristics of design. The design is productive and cognitive, individual and collective. According to this attitude, design can be defined as an activity that formulates, physically and mentally, the “environment” of human (designer and user) and the “artifact” interaction. To develop the so called “interaction” it is vital to understand the mechanism of the design and designers’ behaviour and approaches. Although different sorts of models have been produced in order to depict and clarify the design activity, they have not had significant impact uncovering the individual aspects of designers. Design research in accordance with the detailing and increasing the apprehension of the procedure/mechanism of design is essential. The diversity of architectural design utilization is countless; but the architectural thought and the associated execution essentially follow a specific order. In accordance with the nature of architectural activities, it is necessary fuse both “artistic” and “scientific” mentality into architecture; in order to achieve a proper configuration during the architecture conceptual activity the mapping obstructive techniques are essential. Consequently, during the process the result will be more beyond the simple graphical representation, it does not seem easy. Craving to do great technical configuration and the creative Conceptualization outlines, designers try to assess the inventiveness during the design process, particularly in the early phase of layout in accordance with the form and expression. What we call “design process” could imply sundry purports depending on different situations and observers; in the following interview, we have discussed different aspects of creativity and tried to develop the correspondent pre-model including Parisa’s end goal architectural assignment illumination which eventually gave us a conceptual platform which the architect advances through the process; models of architectural design are rather descriptive and emphasize cognitive cycles, whereas in engineering, they are more prescriptive and insist on mandatory sequence of steps. We have also debated different notions of her architectural attitude and artistic intuition, specifically in association with the conceptualization processings.

بناها نوعا یکی از ماندگارترین و از نظر اقتصادی گران قیمت‌ترین محصولات تمدن ها به شمار می آیند؛ در گذشته، حداکثر توان انسانی و سرمایه اقتصادی، صرف ساخت بناهایی عظیم برای رقابت و ماندگاری شده، درطی تمدن‌هایی نظیر ایران و مصر قدیم و امپراتوری روم، ابرسازه‌هایی منجر به شهرت رسیدن و در معنایی فناناپذیری شده است. حاکمان گذشته به صرف هزینه‌هایی هنگفت دست زده‌اند و حتی سیاق زندگی خود و جامعه را در سازه های انسان ساخت منعکس ساخته اند. به نظر می رسد معماران قرون و ادوار گذشته، همواره بناها را آن‌طور که از آن‌ها انتظار می‌رفت، به خوبی به مرحله ظهور رسانده‌اند و یا با توجه به آثار باقی مانده، اینطور به نظر می رسد. در رابطه با جنبه‌های مفهومی و عملکردی معماری نیز با توجه به غایت فناوری های در دسترس، بناهای گذشته، انسان‌ها را از شرایط طبیعی در امان نگاه ‌‌داشته‌، به سیاقی هوشمندانه گرمایش و سرمایش مناسب در فصول مختلف را تامین کرده اند (در مورد معماری ایران، بسیاری در تایید این موارد پژوهیده اند). از لحاظ دیگر ابعاد فرهنگی و هنری نیز ما میراثدار و وامدار بستری از معماری هستیم که سوالات نظیر را بی پاسخ رها نکرده است؛ پاسخ هایی محیط بر احساسات انسانی و نمایانگر و ارتقادهنده فرهنگ و هنر رایج در هر دوره… . نکته جالب توجه اما این است که در حالی که ساخت و ساز بناها در یک دوره درگیر بسیاری از جنبه‌های فرهنگی، سیاسی و اجتماعی بوده، نوعا قادر است تا با نوعی سازماندهی و راهبرد با مردم آن زمان و دوره‌های بعد از آن ارتباط برقرار کند و پاسخی درخور و قابل ثنا را ارئه دهد. این موضوع غیرقابل انکار است که اگرچه بناهای فاخر گذشته زیبا و الهام بخشند، اماهمواره جنبه‌های سیاسی و اقتصادی در ساخت آن‌ها مداخله داشته‌اند. در این مقال طبیعتا نگارنده قصد ورود به جنبه‌های دیگری نظیر فن ساخت و استحکام را ندارد، هرچند به اعتبار نتیجه قابل رصد، در این عرصه نیز سنگی تمام گزارده شده است. در نهایت زیبایی بنا برآیند از تمامیت جنبه‌های مورد مطالعه در مورد بنا است؛ این نوع نگرش حتی در مورد بیشتر بناهای معمولی و با مصالح بومی و در بستر فرهنگی موجود در هر دوره و برای تامین نیازهای عمومی آن دوره نیز در بسیاری موارد مصداق داشته است. تاریخ معماری در اصل داستانی است پیرامون سبک‌های مختلف در قالب  تسری اشکالی و احجامی که به تدریج در طول زمان به تغییر کرده، امکاناتی را فراهم آورده‌اند در تلاش برای بهبود. این رویکرد به اشتغال ذهنی برای تجزیه و تحلیل سبک‌ها و اشکال و فضا (و در دوران معاصر نقادی آنها) منجر شده و طبیعتا شاهدی است بر اینکه روابط و ضوابطی منطقی در پیدایش یک بنا همواره اهمیت داشته است.

Haj Hussein was smart enough to protect his properties during World War I and the collapse of the Ottoman Empire. He had become rich through trade with Damascus, and had bought or otherwise acquired some ten acres. Haj Hussein Hadid was the cleverest man in Mosul in the early twentieth century, eventually became the governor of Mosul. It was the beginning of the story of Zaha. Mohamed, Haj Hussein's son Mohammad was the first Iraqi graduate of the University of London, School of Economics. He was Zaha's father. Muhammad returned to Mosul to check the progress of the newly formed country and finally became the Finance Minister of Iraq. Since Zaha was born his father was a lawmaker and influential figure. Zaha Mohamed Hadid didn't know if she was going to go the same way, so she was thinking whether she should go the same way or not. She started mathematics at the American University of Beirut, and after graduation, while she was just 21 -year-old, attended Architecture Association School in London and later became a student of Metropolitan. The article tries to develop a better understanding of the role of the family roots of the architect to counter a purely perception of her architectural ideas. The story of Zaha Mohamed Hadid, from the efforts of Haji Hussein during World War I in Mosul to the legend of a lonely girl in the unfamiliar tracks of western architecture, has a lot to teach us about the life and eternity of a legend. Without such a powerful family, Zaha would not have become such a famous architect. In 2013, for the first time in the history of Iranian architecture, it has been announced that one the biggest projects of the capital, Tehran, would be designed by a British architectural firm, Zaha Hadid Architects. In a realistic point of view and according to the scope of this discussion, hiring such a famous architect could create significant value for a capital in Middle East.

The buildings are one of the most resistant and at the same time exclusive creatures of human beings in different civilizations. In the past, the most significant impact of each society was the scale and hugeness of their buildings as a direct mirror of their power among other nations. Also theirs buildings were intelligent and practical enough to respect the nature and the user by means of implementing local achievements. The mentioned respect was not just for the nature, but it was caring about the beliefs, feelings, costumes and lifestyle of the inhabitants. Architecture in its scenario, since the commencement till now was in struggle to locate itself as the historical image of different styles and in this procedure it updates itself according to different forms, spaces, climates etc. within this frame, when we shift the lens on contemporary architecture of Iran which has got long history and background, the notion of identity becomes one of the main issues on the table. Identity could be discussed in diverse scale starting from human to the society, but when an architect tries to reflect identical phenomena in his/her design there are two contradictory orientations. Some of them are digging into the history to find clues of identity and reflect them in contemporary design but the other group has got too much radical view which means neglecting of classical architecture and looking for identity in more prospective perspective. The notion of identity and culture could alter from architect to architect, building to building and form to form. This article tries to give some clues and base points in order to bring two mentioned radical perspectives to a kind of mid-point which could possibly be a guideline for the cure of contemporary architecture in Iran.

In critical assessments of social change, terms like mediatization, globalization, commercialization and individualization are the pioneer ones; according to Friedrich Krotz, these terms are parallel "meta-processes" which influence of society, culture and related interactions with long term effects. This parallelogram could possibly generate a “mediated globalizational approach”, by means of local/global interactive reconsideration. Moreover, communication and information technology is a key factor in the so called consideration. “Mediatization” generates an environment of high degree of self-selective determination by the aid of social and cultural aspects of globalization. During the mentioned “ization-process”, the new term of “Mcdonaldization” represents another contemporary juxtaposition within globalization improvement; the metaphor of Mcdonaldization basically refers to the creation of a compact idea of education. The combination of 5 “ization”s and their structural relation opens up a new attitude toward the profession of architecture. This article will discuss the consequence of mentioned term (Globalization, Mediatization, Commercialization, Individualization And Mcdonaldization) in the lens of professionalism in architecture generates a valuable platform by means of systematic process and reflects itself on architecture education and practice. Mediated interpersonal communication, beside the interactive communicational facilities provided by internet such as weblogs (blogs) in the societies with barriers of communication has been developing new opportunities for self-determination and self-expression. As a case, this socio-organic movement could be evaluated as strategic approach to Globalization/Mediatization from a local/regional innovative job-oriented group with globalized attitudes. The main aim of this research is to enhance, evaluate and boost this movement based on its communicational advantages and by surveying the “Archi-Blog” (the terms is used to describe a blog which is about architecture profession and related issues) via the transformation toward "multicultural working environments" which is open to cultural innovative issues and proposes a systematic method of “Post-Professional” Education in “Architecture and Urban Studies”.

There is a traceable current methodic shift in the field of “Architectural Design” which could be explained as the systematic interconnection of “scientific method” and “design methods” based on the objectives of the “structural logic” of Design; the prospect “systematic” approach would provide the designers/architects/Architecture-SMEs with a possible wide range of technological practical potentials to be deciphered to the operational facilitation in the associated enterprises. The mentioned structural logic could be characterized as a “design support” facilitation based on the “information processing and evaluation” for dealing with all aspects of the knowledge in the process as a Knowledge Management System (KMS) in the sense of improving the collaboration and enhancing the Knowledge Management (KM) process. Since the visual aspects of the design process, such as diagrams, contain a structure of natural cognitive “networks of relationships”, the “meaning” is situated between the linkages of the network which would be visually presented and actualized by the architectural artifact. The semantic associations would be a strategy-based approach of textual relationship between concepts and knowledge for the textual determination and source-target mapping as an effective tool in term of developing the knowledge mining computational analogy tools. In this paper, the main focus is the dynamicity- and creativity-oriented as a flow of knowledge exchange between the design actors in the knowledge-based architectural decisions. The required knowledge and information analysis in the conceptual phase and the related creative notions, beside the fact that concepts are verbal/textual/visually representable, emphasizes the need of a knowledge mapping as a reliable context for Conceptualization in architecture SMEs. The formalization/formulization of the design knowledge/information and the associated interaction/dynamicity based on the designers’ cognitive/creative attitude are still a field to be developed; in this paper, besides the emphasizing the importance of knowledge and its cognitive approaches, the integration of “systematic design approaches” and “knowledge-based systems”, in a semantic sense, have been illustrated. Eventually, the current paper indicates the foundation of a model of such a knowledge-based semantic manner using a review and thematic analysis method.

Design is an activity that formulates, physically and mentally, the “environment” of human (designer and user) and the “artifact” interaction. To develop the mentioned “interaction” it is vital to understand the mechanism of the design and designers’ behavior and approaches as a manageable knowledge-based outlook. According to our literature review, there is not any specific integrated model based on Knowledge Management (KM) and sharing information explaining the “Architectural Creation and Conceptualization”. In this paper, it has been emphasized that architectural design is a creative process of converting knowledge and information into products and/or services (Durst et al., 2014), based on requirements into an upper level of awareness as the product concept and capturing the new knowledge as the solutions which are complete, clear, and consistent. Regardless the normative considerations, an organizational framework based on knowledge for architecture SMEs, can improve the overall performance of the architecture design enterprises. The objective of this article is to propose the need of a new approach toward “Architectural Design Process Syntax” (Yousefi, 2014) based on the developing a KM visual system/model illuminating the managerial approach in the process. The final Visual KM model could be used as a conceptual reference for architectural design process in architectural small and medium offices (SMEs). The authors have mainly followed the literature study, task analysis based on interviews and questionnaires and also visual models, as the assessment and result methodology. This article also reflects the lack of application of the key knowledge management initiatives in architecture SMEs and highlights the essential of a managerial approach toward the question by presenting some potential line of research.

Design could be considered as an activity that formulates, physically and mentally, the “environment” of human (designer and user) and the “artifact” interaction. To develop the mentioned “interaction” it is vital to understand the mechanism of the design and designers’ behavior and approaches as a manageable knowledge-based outlook. According to our literature review, there is not any specific integrated model based on Knowledge Management (KM) and sharing information explaining the “Architectural Creation and Conceptualization”. In this paper, it has been emphasized that architectural design is a creative process of converting knowledge and information into products and/or services (Durst et al., 2014), based on requirements into an upper level of awareness as the product concept and capturing the new knowledge as the solutions which are complete, clear, and consistent. Regardless the normative considerations, an organizational framework based on knowledge for architecture SMEs, can improve the overall performance of the architecture design enterprises. The objective of this article is to propose the need of a new approach toward “Architectural Design Process Syntax” (Yousefi, 2014) based on the developing a KM visual system/model illuminating the managerial approach in the process. The final Visual KM model could be used as a conceptual reference for architectural design process in architectural small and medium offices (SMEs). The authors have mainly followed the literature study, task analysis based on interviews and questionnaires and also visual models, as the assessment and result methodology. This article also reflects the lack of application of the key knowledge management initiatives in architecture SMEs and highlights the essential of a managerial approach toward the question by presenting some potential line of research.

In an architectural judgment It is apparent that a mismatch between predicted and exercised conclusions of spatial design process could be recognized specially in the early phase of design; the figure which eventually we call architecture (or built environment) is deep-rooted in the programmatic approach to architectural design or the concepts. In spite of the development of design and documentations of construction arrangements which are normally follow the authorization/legislation organizations formats/templates, the conceptual part as a qualitative/spiritual issue, which is potentially shaping the illustrative/imaginative visual division of built object, seems has been considered as a part of architectural creativity; Traci Matthews (FDOT, 2003) defines process as "a sequence of activities executed by a human or machine, often with the goal of transforming a set of inputs into outputs. A complete description of a process includes naming of the steps within the process and using models of the system in various abstractions". He also adds about method: "A methodology is simply the implementation of a specific process..." Exploration of what –these days- has been calling "architectural concept" and "methods of architectural programming" and the issue of its interrelation to design process and exploration of the conceptual and historical structure that, hopefully, shapes current issues in architectural theories in addition with politics, ideology and, in a general view, the cultural context, whenever we make a revolutionary leap in personal development, scientific theory or any other qualitative or quantum shift of paradigm or framework, that to which subject becomes object for consideration could be considered as our perceptions and evaluations, those things that subject us to themselves, become things we can behold. As psychologist Robert Kegan (1982) has suggested, rather than be held by our perspective, we can hold it and choose our way of thinking. We can thus step back from patterns that bind and keep us in their hold, and instead choose whether to "hold" those ways or other ways. We can either be hold by a thinking pattern or choose to have the pattern. In fact, the space between architectural creativity and a managerial approach to the case of design must be filled with structural process-based components; here the main issue appears, how does this advent happen and how does this understanding occur? Loon (2008) is right when he is talking about computer dominance in architectural offices even in exploration of conceptual design possibilities; it is even overtaking the current methodologies. He believes that "the bridge between the non-cognitive intuitive design process and the ultra- systematic computer as a potential design medium is missing". Nowadays it is not hard to find many types of software which have been designed specifically in order to form generation in architecture; even there are some courses in architectural faculties just for working with form generating computer applications. Special processes like (Building Information Modeling) BIM have been developed just for dealing with building data during its design and construction life cycle. Collier (1995) like many architectural critics/theorists believe that the architecture must be technically/spiritually a value production activity; in the book of "Design, Technology and Development Process" by using a rich and diverse range of examples from different countries, cultures and historical periods, he explains his fundamental ideas. Collier firstly, sets the scene by exploring generation of buildings and types of architecture and structures to illustrate basic ideas that influence them and then, he discuss the nature of the development and analysis its process. Gaver & Martin (2000) have reported mapping a design space for a project on information appliances, "we produced a workbook describing about twenty conceptual design proposals. On the one hand, they serve as suggestions that digital devices might embody values apart from those traditionally associated with functionality and usefulness. On the other, they are examples of research through design, balancing concreteness with openness to spur the imagination, and using multiplicity to allow the emergence of a new design space..." (2000, p209). Tarrah [Designer Magazine] have had the opportunity to hold an mini-brainstorming [idea generation gaming] session in order to bring the creativity and innovation issues in accordance with architectural design up.

1. Collier, Tonny. (1995). Design, Technology and the Development Process in the Built Environment (Ed.). New York: E&FN Spon.

2. Florida Department of Transport. (2003). the report of "A Process Review and Appraisal of the Systems Engineering Capability for FDOT". Retrieved from: h​ttp://www.floridaits.com/SEMP/Files/PDF_Report/030220‐TMI‐V2.pdf

3. GAVER, Bill & MARTIN H. (2000). Alternatives: Exploring information appliances through conceptual design proposals. In: CHI ’00: Proceedings of

the SIGCHI Conference on Human Factors in Computing Systems, ACM Press, pp 209‐216. Retrieved from: http://www.cs.chalmers.se/idc/ituniv/kurser/04/projektkurs/artiklar/p209‐gaver.pdf

4. Loon, P.P. (2008). A decision‐based design approach. Design Processes: What Architects & Industrial Designers can teach other about managing the design process. Delft: Delft University Press.

5. Kagen, Robert. (1982). The Evolving Self. Boston: Harvard University Press.

Not similar to management discipline, it is really hard to recognize a body of official knowledge and science which deals with the fundamental issues and challenges confronted the architectural design; in spite of the lack of general methodic attitude, the essential forces influencing the architectural design process established guidelines and outline plan of works such as RIBA Outline Plan of Work (Royal Institute of British Architects [RIBA]) or RIBA Work Stages which describes the key tasks, the American Institute of Architects (AIA) as the organization in charge of regulation in the US, the Architects' Council of Europe (ACE), the European Association for Architectural Education (EAAE), etc. Unfortunately there is not such a regulation in Iran to provide a platform which supports the architectural mission as a social discipline by using a format to generate a foundation toward a standard syntax in the field of architectural design performance.

There have always been attention about hesitations and risk; based on the mentioned background, the architectural design project is not risk-free. The confronting strategy is the most important part of managing risk. While risks cannot be omitted, successful projects are those where risks are effectively managed. This paper presents some routine risks that may occur on the process of the architectural design projects in order to establish a model-oriented approach to manage and cope them.

It is concluded that architects must take the responsibility to manage their applicable risks in accordance with the architectural design process and work cooperatively from the possible phase onwards to address potential risks in time. Risk management is thus a notable tool to cope with such substantial risks. Risk management is about thinking ahead and analysing the risks and hesitations involved in a project, which is most important part of the quality management system. The results from this study show a necessity for improvements regarding risk management in architectural design projects.

The importance of the Games has already been perceived for more than three decades by the use of computers in education as an aid in the process of knowledge construction. In Gamification, the game is dislocated from the distraction function, since it has influence in the sensory and cognitive development of the individual. The elements of the Gamification do not follow a specific rule or a standard, and can be applied in whole or in part of an educational process, remodeling of existing procedures in both theoretical tasks or practical procedures. Developing a gamification platform will depend on the purpose, available resources and cognitive pedagogical bases, since the concept tends to redefine the learning process, rescuing the interest and participation with a view to intellectual growth. The current architectural education methods in Iranian universities suffer from lack of coverage of methods both artistically and technologically; the mentioned methods are mostly following the traditional teacher-focused trainings.. Nowadays, considering the advancement of new educational technologies, one of the most fundamental issues facing the current educational systems would be the contextual innovation which seems to change the learning methods both in content and method. The new processes and methods have formed a new playground which makes it possible to take the next step and make a decision on the set of new tools, educational goals and quality of the courses in the discipline architecture. The method of teaching based on the gamification approaches is more effective than other educational methods but there must be a comprehensive platform accordingly. The current study extends the authors' prior work examining the possibility of the formulating a model-based integration of architectural design education with a gamified platform based on the associated literature and resulting in a comprehensive understanding of role games and serious games in the overall educational field. Finally, we have tried to shape the conceptual model of the platform as a framework for creating a followable pattern for regenerating a game-based architecture design education.

's economy, as the most populated city in the Tabriz1 northwest of Iran and a major industry and trade hub, is gradually improving which causes dramatic effects in accordance with the urban/architecture cultural development. Architectural/urban aspects are very sensitive to the issue of the place perception; whether we are equipped to develop a confrontation strategy related to the different challenges of urban/architectural context or not, we have to deal with the social consequences. By definition if we consider a "social urban place" as an integrated object includes our memories and life courses. In a contextual point of view, we identify ourselves with social spatial memories provided by the place we have been experiencing; on the other hand, a ―place‖ without this potential would not respond the needs of the identical sociability and eventually the existence of urban places. In this study we developed identity- based approaches to explain an understandings of ―place‖ the urban area Miyar Miyar [Persian: میار میار [in Tabriz. We have examined the relationship between this public space and social aspects and developed a perceptional platform to analyse the characteristics of the place and place identity associated with the physical built environment. In order to achieve the mentioned platform, we have investigated different factors that have been affecting the formation of the place, mostly the qualitative components. The paper also contains an argument about the existing models and methods of recent changes in Miyar-Miyar and and analytical prospect toward the recent developments considering the Islamic/Iranian spatial forms and concepts/theories and the perception of the audience; then we mention the possibilities of the contribution of the perception to design a responsive environment as sustainable attitude.

Architects and urban researchers have long held the view that the semantical analysis of “space syntax” and understanding physical and social dynamics of public spaces, play a vital role in the social and economic life of the social units and also the formation of public culture, the identity and the notion that could be called “sense of place”. Public spaces/places allow the citizens to have interaction with each other while meeting on the ostensibly ground in a planned and unplanned means. By definition, if we consider a "social urban place" as an integrated object, it will have a tendency to support the emotional expressions of the mentioned sense, including the human-oriented social common achievements, which in a way would eventually make our memories and life courses. In this sense, the crucial importance of the designing of public place/space as an integrated issue, related to the social identity and also the cultural intangible and tangible attitudes, would shape a confrontation strategy which could cause a dramatic change in the mentioned social units. In a broader approach, as many commentator also argue, the the underlying support of the sociability improvement is fundamentally developed by obtaining a comprehensive perception of “knowledge” associated with the city and its public spaces/places. While urban analysts and practitioners’ ideas differentiate in the sense of the approach toward the place/space, as a contextual phenomenon, they have generally accepted that without managing the mentioned “knowledge”, the corresponding data and information would be overloaded increasingly. Consequently the decision-making, the acceleration of the urban progress, stimulating cultural changes and the innovative attitudes etc. will encounter a significant failure risk; so that, abnormal resonance and chaos will occur over and over in the urban place/space. considering that there is no traceable regulating ground base/strategy in Iran to provide and improve urban-generated knowledge, based on social identity, particularly the practical management of the mentioned knowledge remain a major issue for the sociability improvement in urban public places/spaces. In order to respond to this gap, the current paper discusses the integrated identity factors in the management structure of urban public places. In order to achieve the mentioned purpose, in an analytic mode of understanding, we observe relationships between “space syntax” semantically; then, based on theoretical investigations and literature review we distinguish fundamental issues enhancing the identity and quality of place. As the result, we have presented a managerial method of the gained place identical knowledge in order to promote the sociability of public spaces. We have also examined the relationship between this public space and the associated social aspects and developed a perceptual semantic platform to manage the related knowledge of the place identity which is associated with the physical built environment. The conclusion contains a conceptual model representing a sociability-oriented knowledge management visualization of the public urban place/space  considering architectural identity factors.

چکیده: تجلی فرهنگ در معنای زندگی روزمره معمولا در ضرب المثل ها، سبک زندگی، اعتقادات و باورها و نهایتا ماهیت های مادی مردمان [همچون معماری] نمود می یابد. در این وادی مردمان شرق و در موضوع ما مردمان خاورمیانه و خاور نزدیک به اندازه ای دارای نمود مشترک فرهنگی هستند که بعضا میتوان از الگوهای مشترک توسعه ای برای ملت های مختلف بهره گرفت. در وادی معماری نیز الگوبرداری از عنصرهای هم سو با فرهنگ و هویت خود می تواند راه گشای خلاقیت و بهینه سازی رویکردهای توسعه ای بعدی و به اعتبار نتیجه به وجود آمدن معماری پایدار و هویت گرا باشد. در این بین شاید بتوان نور و مناسک و منازل آن را از جمله موضوعاتی دانست که در اکثر فرهنگ های تعالی گرا بدان توجه ویژه ای شده است. چرا که؛ نور جزو تاثیر گدارترین مولفه های محیطی شناخته میشود. ولی امروزه شاهد این مساله هستیم که گاهی با بالا رفتن آگاهی های علمی و رشد تکنولوژی همچنین در تنگنای معماری از پیش تعریف شده دوران مدرنیته، گاهی توجه به نور و ارزش های والای آن فراموش میشود. چنان چه به نظر میرسد گاهی حتی این عامل کارامد درک محیط و فضا دیگر کلیدی ترین عامل طراحی یک اثر نیست. در حالی که گذشتگان با بهره گیری از کمترین امکانات در حالی که از نور به بهترین نحو ممکن در ساخت فضای مصنوع خود یاری میجستند، بدون اینکه دانش آکادمیکی داشته باشند، در واقع معماری پایدار و هویت گرا و معنامند را به منصه اجرا میگزاردند. نمونه این استفاده را در مشربیه میتوانیم ببینیم. در این پژوهش با مطالعه عنصر کالبدی مشربیه و چیستی آن، نقش این عنصر در معماری عربی/اسلامی بررسی شده است. سپس ضمن ارائه الگوهایی نحوه استفاده و الهام گیری از این عنصر را در معماری هویت گرای امروزی بیان کرده و در پایان نتیجه میگیرد که مشربیه میتواند امروزه نیز الگوی مناسبی باشد برای طراحی معمارانه. چرا که؛ این الگو برخواسته از فرهنگ و هویت میباشد.

One of the fundamental issues in the Architecture and urban studies, is creativity and adapting to the new trends of innovation, which in a set is the solution to the design wicked problems. Meanwhile, in a general point of view, there is a significant increase in accordance with the use of Information Technology (IT) as a tool of the perception of the sensing of place/space. Territories of Artificial Intelligence (AI) covers the self-ruling arranging robotic frameworks to explore through the surrendering data/information; the data which could be provided by the computerized visual system. Consequently, the mentioned line of technology would metamorphose the complex multi-layers of the architectural spaces, even more complex. In this paper we discuss about the current state-of-art in Virtual Reality, (VR), Augmented Reality (AR) and also Artificial Intelligence (AI) through the possible intermediate-level of processing as the object/feature/pattern path and the recognition and tracking which could be carried out by the associated scenarios. The manuscript describes VR, AR and AI as helpful tools to achieve better comprehension of semantic layers of place/space. Our methodology is testing and also literature review of case studies. This study identifies the main factors in the mentioned state-of-art influencing the architectural creativity and innovation in the sense of architecture as a branch of the discipline of design and management through the process of observing and visualization. At the end of the article, we conclude that the paradigm of visualization is a key factor to present appropriate answers for the architectural wicked-problems.

Data warehouse (DW) solutions are becoming increasingly popular to implement in different organizations. There are a variety of motivational factors for activities to acquire DW, among other things, it helps with analyzes and decision making in the business to gain for an example competitiveness. DW projects are expensive projects that require a lot of resources from the organization side. However, more and more DW projects fail and are not optimal for business purposes. Before the organization implements a DW, it is important to choose architecture based on, i.e. a data model for how data is stored and structured in the DW. The two dominant architecture models are top-down as Inmon presented in the 90s and bottom-up who Kimball introduced after Inmon announced his model.  Both Inmon and Kimball have their own philosophies and models for how a DW solution should be model. Organization dilemma is choosing one or the other performance. The choice depends on many factors and considerations. There are also significant philosophical debates, obstacles, also pros and cons for choice of the data warehouse architecture (Lawyer & Chowdhury, 2004). Therefore, this study should demonstrate which factors govern the choice of architecture using a literature study comparing these models. The result shows that Inmon's top-down approach handles factors like data quality, how data can be integrated from different source systems, flexibility, metadata management, and handle data sources and ETL better than Kimball's bottom-up approach. Kimball's architecture model focuses more on factors such as performance and end-user interaction. The results also show that the Kimball model is easier and faster to implement.  

BIM (Building Information Modeling) is the new trend in accordance with the management of the information related to building design and construction; some countries such as Denmark, Singapore and the United Kingdom have mandated the implementation of BIM method for their public construction projects and considered BIM documentation/implementation as a part of their national regulations/codes. So far, there is not such a ground rule/platform in Iran to provide and improve public construction/design contracts based on BIM implementation. This gap makes the management of the generated associated knowledge difficult to capture and eventually would not support the needed effective dissemination of the prospect knowledge. Particularly the practical implementation, the associated knowledge acquisition, and application of BIM remain a major issue, in our case for the renovation projects in Iran, although the related software are in common usage. The ultimate goal of this paper is to gain a more acute perspective into the implementation of Building Information Modeling (BIM) through the renovation of the cultural/historic places/buildings and the related innovative operational approach, addressing various projects around the world by developing a conceptual model as a Knowledge Management System (KMS); it reveals that BIM adaptation for public historical renovations in Iran which not only helps to mitigate the Knowledge Management problems but also attract global actors to participate in the mentioned field beside the platform development of the KM. The establishment of the KMS and the associated dynamism must be through the core management approach and strategy of the contributing enterprises, providing the human, financial and material resources to the process; additionally, it is essential to capture and systematized generated information and knowledge throughout the lifecycle of the renovation projects. The methodology is based on a literature review of the BIM-oriented renovation investigating of the actual projects and the development of a conceptual model toward fulfilling the gap of the key management factors such as indecisive sustainability, weak project execution, unclear or divergent project goals, lack of funding or resources, lack of design and renovation standards, etc. By implementation of BIM as a knowledge-based approach in the renovation of historical and cultural projects, our conceptual model uses BIM as an information exchange framework to manage knowledge in renovation project. The paper concludes with a potential broad discussion of suggestions supporting the adaptation of BIM at the renovation stage of historical projects in Iran based on the research findings.

Digital transformation is increasingly blurring the line between what software is and what the physical world can be. This requires designers to harmoniously blend digital and physical products, services, and spaces to orchestrate meaningful experiences specifically aimed at the interweaving relationships between people, places, and things. As technologies and subsequent experiences rapidly become increasingly ubiquitous, it is essential to design pedagogy for these technologies at a human scale. The Pedagogies of Designing Blended Experiences workshop will discuss, present, ideate, and propose novel methods and techniques to develop pedagogies toward this need. The full-day workshop outcomes mainly revolve around a) Identifying key pedagogical problems and obstacles when designing across digital and physical spaces, b) Early ideation techniques for novel pedagogical approaches, and c) A three-phased speculative road-map to incorporate workshop outcomes in higher education learning.

The walkshop introduces participants to an embodied, structural approach to understand, conceptualize, and design experiences that blend physical and digital space to create a novel space of action, with its own sense of presence, its own affordances, and its very special challenges. It consists of an outdoors morning walking and exploratory session, and of an afternoon mapping and reflective session at the conference venue. During the morning session, participants directly experience the urban fabric of Copenhagen and engage in activities meant to explore and expose the way digital and physical space commingle and become a layered blended space. During the afternoon session, the participants turn notes and observations into maps with the help of methods and tools provided by the facilitators. Attention is paid to identifying friction between pace layers and to the structure, participating elements, and relationships that support the experience in either digital, physical, or blended space, and to reflect on how the structures of embodiment and spatiality shape experience and act as important, non-interface level grounding elements in the design of human activity in all types of space. The walkshop concludes with a plenary discussion of the deliverables created by participants, what insights were gained in the process, and possible developments to follow.