Abstract:
This research focuses on the analysis of creativity in the process of architectural design works of the Islamic revolution in Iran. The research methodology is “descriptive-analytic” in the stage of theoretical literature and “content analysis” in the operational stage. The statistical population is composed of four architectural works chosen from “Memar” award winning architectural works in 2001-2017 based on the indices derived from theoretical foundations, i.e. “a. value exhibition, b. creation of ambiguity,
c. creation of tension, d. form transformability and deconstruction, e. use of tangible and intangible metaphors, and f. use of paradox and metaphysics”. This study tries to evaluate the creativity indices in the selected samples and seeks to see whether there is any significant relationship between the indices of creativity and the effectiveness of the works and the process of their selection as the superior sample. At the end, the analyses suggest that there is no significant relationship between the effectiveness of these indices in the totality of works and the process of selection as creative works; it seems that the referees of the competition did not have any unique procedure for their selection. Moreover, it is concluded that the ambiguity in the process of design has been against the creation of value; because the effects with higher mean marks in value exhibition, contradiction, order and chaos, fullness and emptiness, lightness and heaviness, natural and artificial, new and old offer lower marks in “creation of ambiguity”. Paradox and metaphysics were of the highest degrees and the factor of “new and old” had the lowest ranks. Given the types of architectural styles of revolution, in terms of form, modern materials and technologies, unique examples of creativity have taken form proportionate to the growth of technology and the relationship of the context and background of the monument.
Machine summary:
Khavaran Culture House (Hojjat, 1996) Architecture with Exemplarist Ideas from Past Architecture: The ideas organizing form and space in Iranian past architecture are based on the use of geometry, balance, naturalism, hierarchy and unity; all of which have been the source of inspiration in creation of architectural works after Islamic Revolution.
Central Site of National Library; (Shojaei, 2015) (Hosseinzadeh &amp; Qolinezhad, 2010) <H3>Postmodern Approach</H3> In early decades after Islamic Revolution following the emergence of postmodern architectural style and the publication of forms and symbols of this era in journals many of the constructors and designers of public and private domains took advantage of the new forms in order to improve their modern cubes (Hosseinzadeh &amp; Qolinezhad, 2010, p.
Mellat Cinema, Supreme Audit Court (Moeini &amp; Khoshbin, 2016) Although almost four decades have passed since the emergence of tech-architecture, there are a few buildings which are constructed in this style in Iran; most of which are located in Tehran.
Factors of Creativity in the Process of Architectural Design (Research data based on Jawdat, 1999; Antoniades, 2002; Afshar Naderi, 2005) (View the image of this page) The operational definition of these variables are as follows: a.
Mellat Cinematic Elysium; Work analysis based on Creativity Factors (Criterion of Emergence of Variable/factor of Creativity): from Minimum* to Maximum * (View the image of this page) (For completing this table, the authors used the interviews with the architects who criticized &quot;Mellat Cinematic Elasyium&quot; in Journal of Urbanization Studies, Summer 2010, pp.