Synergy and synchronization align with collective thinking and interaction but as beautiful as this phenomenon is, it is quite conventional to have differences in not only opinions but also the dynamics of a particular routine. Design education is not just an activity but a process that spans time as well as constructive variations. As we move from one domain to another, it is the dissimilarity of minds that can elevate the design process and its subsequent creations. Channeling the equivalence between the convention of diversity and adherence to congruity is the new trend and this drift is certainly due to the rising deviations in design thinking and methodologies.
THE LOGIC BEHIND THE MINDSET
The methods of accumulating and assembling data to analyze different perspectives and mindsets for better design briefing are quite varied. These methods and routines differ not just in their timeline but in their approaches as well. The presence of divergent social backgrounds and their inherent impact on the design response of people is what triggers architects to amass a substantial knowledge of social and cultural practices. There is an implicit understanding of the way culture defines education, broadens the area for asking questions, and ties together the effects of several minds working together for the greater good. Although there is heterogeneity in language, social strata, and historical accounts, the process of design education unites on the lines of a better comprehension of the world and its inhabitants. The needs generated due to environmental and social causes or solely born out of a desire for comfort pave the way for collaborations and interlinkage on a global scale.
The canonical and widely accepted technique of perceiving things in the field of design is getting a grasp of how life imitates art and how art influences thoughts. The various characteristics of various design methodologies pique interest in different candidates depending on their educational and cultural backgrounds. Most of these steps or methods originate somewhere in the process of looking for solutions to invasive issues. But are these issues capable of engendering a massive alliance? Are these problems sizeable enough to foster such diversified mindsets? The answer lies in the unified attempts all over the world to stabilize such conflicts of interest.
TECHNIQUES UNFOLDED
The regular media for assimilating facts and figures is historically and logically the same for all countries and cultures. The process of experiential learning and the handing down of facts along with guidance has been around for centuries affecting the particulars of design education. Experience is hands down the greatest teacher for integrating knowledge into our lives. Design education conjures virtues like patience, temperance, and the ability to ideate while listening to others. In the modern world, design establishes a pattern in both learning and application. These patterns trace the strategies that necessitate understanding one’s form of literature as well as forms all across the globe. This further sensitizes people towards cultures that are not their own and design thinking is an integral part of such an approach.
Façade studies to history of contemporary and vernacular architecture, building systems to the theory that delineates the purpose of architecture in different places, all but construct the frame of architectural education. The concatenation of such subjects is rooted in the way they are taught- case studies, interactional courses, and study visits to places of interest to create a miscellany of designs. However, is this cohesiveness upheld when it comes to reality? Well yes and no. The schemes incorporated to explore gaps in pedagogies usually orient with the student’s ability to grasp the essence of various cultures and their impacts on design education. However, these impacts can be better studied when they exist in practice and not just in theory. It is mostly in writing that we learn how different cultures instigate different practices. It is understood and believed that the practicality of the work will follow the theory. The resources to establish a genuine process of collaboration are discernible and widely publicized like video lectures recorded by scholars all over the world, meet and greet with eminent figures, and projects undertaken by a mix of students or learners from different parts of the world.
CONCLUSION
The practice of generating solutions for staple yet significant questions is directly juxtaposed with the vision of intermingling cultures and their proponents. If not for the superimposed layers of cultural beliefs and societal strategies, the introduction to a variety of educational resources would not be possible. Design education is based on a sensitive attitude towards changes and alterations whilst suggesting a completely new and innovative proposition. So, it is imperative for design institutions and teachers to have a more open, diversely sourced, and ductile approach towards learning and its execution. A finer conception of cross-cultural harmony in erudition may not be a myth, it might just be a little reminder for future projects to have and propose varietal characteristics.
The stereotypical notions are circumvented giving rise to a rational and noteworthy stance towards design education. Technology in this sense, is quite an exhaustive route to tread on. It’s continual and ever-evolving along with the methods and techniques and it is only a matter of time before the trajectory of both end up parallel. Even though there is still a disjointed nature of cultural exchange in terms of design education, the clarity with which people identify the need for such exchange is tangential. The narrative was and always will be of architecture and design finding its way through the crevices of cultures, social backgrounds, and partnerships.
