| abstract |
| Background Several studies have shown that architects and consumers have different preferences in appreciating the same architectural forms. Such differences in aesthetic awareness exist in other works of art but appear to be more pronounced in architectural forms because, unlike art forms with relatively small audiences, architecture is a product of mass aesthetic awareness consumption. These differences can have a more serious impact on the appreciators of architectural forms. Therefore, it is necessary to examine the reasons for such differences.
Methods This study first reanalyzes data from a survey of architects and consumers on architectural aesthetic preferences and identifies aesthetic differences between these two groups, primarily in the functionalist style of architecture. Second, the analysis of the educational system revealed that the geometric language of form, which has had a continuous influence on functionalism, may be one of the reasons for the differences in aesthetic awareness. Third, the ventral visual (HSF) pathway of the brain for stylistic processing was analyzed, and it was found that both the neostriatum associated with visual habits and the ventral striatum associated with reward mechanisms play a role in the stylistic process. Therefore, this study argues that the familiarity with the language of geometric shapes developed in the education of architects is one of the reasons for the differences in architectural aesthetics. Fourth, to establish this claim, a questionnaire experiment was conducted, and a correlation analysis of the results proved a significant correlation between familiarity with the language of geometric shapes and architectural aesthetic outcomes.
Result Based on the above analysis, one of the reasons for the difference between architects' and consumers' aesthetic awareness of functionalist architectural forms is the variability in familiarity with the language of geometric shape design in the educational process.
Conclusion This study argues that the geometric familiarity brought about through stylistic education affects the visual aesthetic awareness of architects. This geometry-based design education is not through recognition of the beautiful structures found but rather develops into a style that can be perceived as beautiful in its stylistic value. But this sense of beauty is perceptually differentiated by differences in people's experiences. Consumers form visual memories from everyday visual experiences and architects' visual memories from geometric modeling education. As a result of this learning, the architect's sense of beauty has a tendency to fail to meet the consumer's general sense of beauty. |
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| Key Words |
| Aesthetic awareness, Geometric Shapes, Neuroscience |
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