![]() ![]() of education has been remarked as student needs at objectives, discipline structure at contents and scientific method at teaching. View full-textīasic art education is the basic, common and first training process of plastic arts where creative personalities with the levels of being talented and experience, revealing the potential of individual sense, intuition, inventiveness, dream and improvisation, being able to use this potential within an aesthetic organization and order are expected to be created. Educators, counselors, and managers seeking to understand how to best foster innovation and career happiness may also benefit. The resulting expanded model of affect and creativity offers myriad opportunities for future researchers interested in scale development and in qualitative inquiry with other creative professions. Four new categories were added: affective pleasure in technical perspective-taking, in focus, in creating, and in self-expression. One category, cognitive integration and modulation of affect, was expanded to include the role of intuition. The inventor discussions encouraged an elaboration and expansion of the model. Every dimension of the Russ model was found evident in the inventors' innovation experiences. The inventor discussions of their emotional experience were analyzed using the Russ (1993, 1999) model of affect and creativity. assessments indicated, however, that personality alone could not explain this high level of career happiness. Though many emotions were mentioned, the inventors spoke repeatedly and consistently about their enjoyment of innovation work. The inventors expressed a profound level of emotional experience as part of their creative process. In conclusion, the article proposes several actions to be considered as open instructions or recommendations for bridge design with the aim of being both a design method and a manifesto to encourage creative structural engineering.įour product inventors and 2 control participants were interviewed intensively about their creative process and given a series of personality assessments. The presentation of the projects is structured according to the three essential elements proposed (site, type and drawing) and highlights the main characteristics of each project and the key aspects of their design processes. A discussion of the proposed key design components is followed by a description of several bridges and footbridges designed by the authors: a competition proposal in the United Kingdom, two competition-winning footbridges-over the Drava river in Maribor, Slovenia, and over the Miño river between Spain and Portugal-and two urban bridges built in Riyadh. Bridge design entails drawing as much as analysis and sometimes it is even more about geometry than about engineering. Drawing is the conceptual synthesis that builds on the two previous elements. The study of alternatives constantly turns to the open catalogue of types for support. The article proposes three essential elements in the bridge design process: site, type and drawing.
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