The final design is a culmination of a process that is often driven by personal motivation.
‘Thus we can see that, although designers may be commissioned and briefed by clients and may chiefly concern themselves with the needs of others, the design process is also performed for the personal satisfaction of the designer’ (Lawson, 1990). What forms and influences the designer’s character? What forms this inner motivation and how will it manifest itself in the designs that are produced? These are important issues to understand, not for the reasons used by many critics and writers to categorize architects by the styles they adopt, but rather to determine the nature and level of their commitment to their professed ideals.
Many designers, often driven by their inner convictions about the way the world should be, are determined to make a statement, whether political, social, monumental or aesthetic, through their work. This is developed during the process of architectural education, which in the UK at least is dominated by the project-based ‘crit’. This system requires architects to develop their personal design philosophy and concepts and defend them strongly in open debate with their seniors and peers. There is a danger that this custom of vociferous defence may be perceived by non-architects as arrogance, but it is often so strongly developed as to be very difficult to modify and adapt.
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