The creative process is embodied in three basic pillars, which are the designer, the recipient, and the architectural product, as the former conveys his experience and idea through an artistic or architectural work, and this experience cannot survive without having a future, and this experience is in the form of a creative product that carries the values of originality, beauty, utility, etc. One of the positive features determined by the environmental environment according to a corrective judgment, and this means that its effectiveness is not complete without the presence of the recipient who can be considered a true partner in the re-creation of the architecture, who always seeks to reach the designer's intentions and define their features, and the creative process is not completed until after measuring the suitability of the designer In terms of expression, the extent of the recipient’s understanding of the product and the extent of the product’s suitability in embodying the creator’s ability to make optimal use of the architectural energies that exist within the environment and the extent to which the product is utilized for users, whether visitors, residents, or even transients, and therefore we find that distinguished projects depend on the understanding that makes the shape able to convey the intended message. The problem of communication between the designer and the recipient is a phenomenon worth studying by those interested in environmental beautification, to understand how the artistic approach and deal with pain Urban Nateq of all kinds, with the aim of reaching the correct scientific methods in the aesthetic planning of cities, and revealing the conscious perception of the designer to solve the problem of receiving the architectural image, where the importance of research appears in the unification and fusion of the state of suitability between the recipient, using and the creative designer or architect through the artistic product that is acquired Through it cities have a cultural, social, historical and economic value. Proplem of the research: Lack of a perception of what the effects of the reception process can cause by the users upon exposure to the environmental product, and how the designer can benefit when understanding these effects to produce designs and functional elements in the best visible architectural image. Objectives: Determining the effect of the reception process on both the environmental designer and the recipient and its reflection on the environmental beautification elements. Studying the vision generated by the recipient when viewing the artistic work, and how this vision can be transformed from a single vision (at the designer) to a double vision (at the designer and the recipient) of the environmental product. Identify the three pillars of the creative process, namely the designer, the recipient, and the architectural product, to determine the nature of the transformation from the recipient’s thought to a state of suitability in his latent image.After the emergence of many modern art movements and different schools in architecture, another trend appeared to preserve the existing architectural formations and protect them from any change, by respecting the general character of the area and the importance of choosing the optimal design for accessories and added buildings. Methodology : the inductive analytical approach, in which some concepts affecting the ruling elements of the research are reviewed, to extend to the analysis of models through which the link between the receiving mechanism of the technical work through its designer and recipient parties. Results : The artistic and architectural work as a design element that adopts the content of space, movement, time and diversity in the points of view with different perspectives for the same work that leads to a difference in the formation and organization of the surrounding environment, as it constitutes a spatial and temporal experience for the recipient, which affects the visual and social culture of him. The recipient’s movement and speed are two important factors in the perception and comprehension of the technical work, and the designer should take these two factors into account when thinking about developing design plans for the space. The chronological sequence of the recipient, through his movement within the space, affects the appearance and disappearance of the elements of artistic work and the visual impairment (determinants) represented by levels and blocks on the process of receiving and perception of the work and its elements. The designer must take into account the elements of formal complexity, ambiguity and clarity when designing an artistic work within the environment, so that the recipient can enjoy the artistic experience and acquire new information without losing his way. The tremendous potential offered by modern technology provides designers with many means to reach an architectural product that is easy to assimilate to recipients of different cultures and can enjoy it.
Mabrouk, Sara Ibrahim
"Problematics in the communication process among designers, recipients, and elements of the environmental beautifications,"
International Design Journal: Vol. 11
, Article 33.
Available at: https://digitalcommons.aaru.edu.jo/faa-design/vol11/iss4/33