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Participation in Architecture (Research Paper Sample)


Different dimensions on active participation in Architecture.

Participation in Architecture
There are different ways in which users of a particular construction are used in the enhancement of the design properties. For instance, by dwelling in a certain building, an individual progressively becomes a big part of the buildings architectural properties. In both traditional and primitive societies, designers have always used the presence of design users to professionally merge them with different qualities of the design. The essence of this is to make sure that there exists a close tie between an individual and his environment. This makes sure that the final design satisfies the expectations of the end user. This way, the user develops a sense of belonging towards the architectural piece.
The participative concept of architecture acts as a challenge to a majority of the normative components of ancient architecture. Particularly, it changes aspects such as aesthetics and control. Additionally, this architectural approach modifies the notions of authorship, as well as the role portrayed by the user (Jenkins & Forsyth, 2010). This research aims to find out whether this new approach can unveil new models of architectural forms, or even new spatial stipulations. It is also viable to find out the different ways in which the participator contributes towards the processes of creating such designs.
This form of architectural design is used to modify the aesthetic nature of a model design. This factor leans on the formal side of the objectives of this design. However, there are other aspects of participatory architecture that remain unexploited by many designers. On the global platform, many countries are using government policies to encourage people to involve themselves more in improving their environments. This means that the approach of participatory architecture has garnered interests not only from its users, but from clients, funders, traditional architects, as well officers working in the government (Jenkins & Forsyth, 2010). This proves that there is more to this design than what meets the eye of the potential client. There are additional aspects that surround this approach, and they are not subjective to the sole evaluation of the designer.

Fig 1.1: This image represents the aesthetic architectural notion created by user participation. By merging the colours and the zigzag pattern, the beauty portrayed cannot loose meaning, and this makes this piece of art difficult to abandon.
Different designers possess different attitudes towards participation of different users in a design model. On a general perspective, the professionalism of architects portrays a great deal of artistic dimensions, but they still embody a component of the social dimension. The artistic dimension of a design can be quite conservative in nature. This means that this component can prevent users from involving themselves in the process of design. This comes about as a result of a general misconception by a majority of people that art is a sole private activity which cannot be created collectively (Fox & Kemp, 2009). However, the social aspect of architecture provides a completely different side. This component encourages innovation. It is the side of art that invites new methods of doing things. Additionally, it helps designers to unveil more profound architectural models by simulating new notions.
There are two different ways in which users participate in architectural models: through design, and in design. Involvement by users through design entails the accessibility of the original design. This form of engagement is governed by the ownership, as well as the appropriation of the design. This means that everything in the environment is a product both the designer, and the inhabitants of that environment. By virtue of dwelling in a certain contextual design model, a dweller becomes a component of the conceptual design.

Fig 1.2: In this image, the aspect of human presence cannot be easily ignored. The scene would be an empty one were it not for the biker’s comportment which enriches the appearance of the scene. The image represents a logging site, which is built with considerations of the human safety requirements, as well as the efficiency of the work carried out there-in.
Engagement in design, on the other hand, happens as a result of involvement in the real process of designing an architectural piece. A user of a certain design can opt to participate in its creation out of democratic motives (Fox & Kemp, 2009). Additionally, one can possess an urge of making a design better than the original. This participation is driven by an intended quality by the end user of a design. This way, a participator achieves an objective improvement of the architectural model.
This architectural approach involves the construction of unwritten rules inviting participators to present contributions which can improve a certain concept. According to Grant, it is a technical system whereby an independent designer openly invites any quality inputs from outsiders (2008). This forms a new ecosystem which evolves faster since everybody takes a step towards making it better. This means that an individual initiative can do much less than what a communal input can. If any design receives such contributions, the end product is viable to possess extremely little or no deficiencies.
This approach of design depicts unique components, which are significantly more than crowd-sourcing. It is also an extremely open art. By openness, it means that an individual can comfortably share a design fabrication with other people. The art of crowdsourcing, on the other hand, means that a group of designers can come together and make a communal contribution towards a solo project (Fox & Kemp, 2009). However, these two traits of this approach are not enough on their own. It is important to create a level of participation, whereby a group of active participants can exchange conceptual ideas of unique models, according to their agendas. In as much as that sounds like an impossible thing to do, it is achievable through will.
 F1.3: This is a perfect illustration of the essence of teamwork in architectural designs. The human subjects in the design silently address the levels of achievement which can be achieved by cooperation between the designers and the users.
The true beauty of a functional, participatory architecture is its true goodness. It does not possess any significant conflict or distinction between the designer’s opinion and the public’s opinion. Both parties perceive the wholesome beauty brought about by the fact that the contributions of them all are key factors. This is one of the reasons why his architectural approach is taking over control and command systems (Jenkins & Forsyth, 2010). This is as a result of the fact that it is easier to influence each other than to control each other.
Many people unanimously believe in the autonomous nature of architecture. They perceive this art as a discipline whose purpose involves the creation of new and profound types of knowledge. This sovereign nature means that the new knowledge plays a big role in advancing the components of the discipline itself. From this perspective, participation in architecture is a technical means of art to form an engagement with the whole society. This illustrates that this ap...
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