In design, the power of the example is enormous. We all look for places, concepts and pictures to inspire us and help us articulate our own discourse. It’s nice for someone to see himself as a student, next to history who constantly evolving. The power of a mind that remains open and does not require many things as given can be a very useful tool, a useful investment, but also a window constantly open to the past and to the future.Design, like any other Art or Science, grows and develops on a particular territory.
Economic, social and political conditions influence and shape the limits within which the design will move and develop. Every design action is deeply political, which means that it is deeply philosophical and never philosophy served purpose to its own end.The dominant architectural movements have passed, through the period of evolution and decadencedeveloping and influencing architectural production. The association of the wider historical – political and cultural framework has shaped developments in the consolidation of urban civilization in Western Europe and the currents architectural movements. In other words, it is impossible for a designer not to be affected, in his work and in the way he attributes, from the social, political and economic developments of each period.It is obvious that the global financial crisis has influenced the design in general.
Mainly because this is a cultural and social crisis. We live in the crisis of values, standards, lifestyles with countless consequences for the present and the future. Contemporary lifestyles with strident speeds and lingering for a quick, poorly done, result can only be a negative factor in a designer’s job.
designer’s work. The world and the environment need designers who respect history, designers who think, designers with skills in composition, construction and strategic thinking, designers who perceive the architecture as a whole. The past can easily teach us, if we give the proper attention and respect. What can help us, if we keep it in mind, is that the architectural work is mainly judged by the people who live it and by the time it flows is a foolproof judge. The assessment of a design project should take into account the human-space experience of the place. Every resident of a city and every visitor must be actively involved in the open dialogue of the critique of architectural works. It is his right and obligation in the same time.
The designer needs this critique because it can be a catalytic factor for the stage of our cultural present