عنوان مقاله [English]
Since production is difficult and imitation easy, especially in fields such as architecture whose consequences are revealed within time and are hidden, the objective-subjective quality of design and aesthetics will be ignored. Designs made by students in order to produce knowledge and improve profession under professors’ guidance in an academic environment manifests practical outputs in the contention of production and imitation. In this article, identifying aesthetics and explaining balance in the contention of production and imitation will be addressed by reviewing documents of Iranian academic designs through following questions: Is there a common aesthetic as a rule of aesthetics among students’ designs? What is it? Considering the prevalence of case study reviews in today designs of students, are these potential aesthetics rules produced by conscious or unconscious imitation of three traditions of Iran, Islam and West or a production based on them? This goal is achieved by a bi-section system of formal-mathematics and interpretational-normative logical argumentation guideline.
Results show that in the view of academic designers, creating complexity by a limited number of simple formal variables that produce association using light and warm colors as porous, horizontal, and expansive, with an urban sense and relied on natural or human geometry, soft articulation, rectangle and axis will be appreciated. In this aesthetics, explicit imitation is insignificant, but two errors in “localization” and “what itself has” are obvious for which 5 main reasons can be considered. As a result, the contention with the principle of implicit copy or imitation has been ignored and it seems that powerful conscious production connected to the current and historical background of Iran may be achieved through theorizing, awareness, and distinguishing different types and addressing the crisis (not denial).