This paper is based on this assumption that creativity is not just a process based on trial & error, but based on the context within which such a process occurs. Such a context had been nominated by terms such as emotion and related terms. We think that culture has a better potential to describe the context, moreover it can have an interactive dialogue with the creative process. The case study chosen for such a proposal is a water canal in Tajrish Square. While such a location had been designed functionally, regarding the current situation, we tried to examine and develop how cultural context could help us be more creative. The method for generating visual creative data out of the study was based on re-arrangement /change process of the gained information and symbols in the form of images of the perceived, which has been an inspiringly self-developed method. We think that through the chosen assumption and related method,creativity could empower the imagination domain and help us generate better ideas. In other words, the purpose of current survey is to recognize the role of culture on the prosperity and fruitfulness of creativity by designers to obtain creative forms. The further findings of our research proposes that renovating the hidden cultural concepts through designed artifacts applied in the chosen landscape would not only have more pleasant effect for the viewers, but could help the urban-policy makers reaching the target behavior, in this case a more sustainable and enriched social interaction. Familiarity with cultural concepts and selection of myth -as the cultural motif- and identification of similarities and the cases of semanticideological dissimilarities in different cultural myths have been assessed using library sources. However, the ideological and cultural similarities 2 in a geographical region would not necessarily accompany with identification of form. Keywords: Culture, Creativity, Design, Form, Myth.

1. Abstract
Determining the Role of Culture on Promotion of Creativity in
Design
Parisa Aminsobhani*
MA. University of Tehran/ Kish International Campus
aminsobhani@ut.ac.ir
Nasrin Moghadam
PhD. University of Tehran/ College of Fine Arts
nmoghadam@ut.ac.ir
Alireza Ajdari
PhD. University of Tehran/ College of Fine Arts
alireza.ajdari@ut.ac.ir
Abstract
This paper is based on this assumption that creativity is not just a
process based on trial & error, but based on the context within which
such a process occurs. Such a context had been nominated by terms
such as emotion and related terms. We think that culture has a better
potential to describe the context, moreover it can have an interactive
dialogue with the creative process. The case study chosen for such a
proposal is a water canal in Tajrish Square. While such a location had
been designed functionally, regarding the current situation, we tried to
examine and develop how cultural context could help us be more
creative. The method for generating visual creative data out of the study
was based on re-arrangement /change process of the gained information
and symbols in the form of images of the perceived, which has been an
inspiringly self-developed method. We think that through the chosen
assumption and related method,creativity could empower the
imagination domain and help us generate better ideas. In other words,
the purpose of current survey is to recognize the role of culture on the
prosperity and fruitfulness of creativity by designers to obtain creative
forms. The further findings of our research proposes that renovating the
hidden cultural concepts through designed artifacts applied in the
chosen landscape would not only have more pleasant effect for the
viewers, but could help the urban-policy makers reaching the target
behavior, in this case a more sustainable and enriched social interaction.
Familiarity with cultural concepts and selection of myth -as the cultural
motif- and identification of similarities and the cases of semantic-
ideological dissimilarities in different cultural myths have been assessed
using library sources. However, the ideological and cultural similarities

2. 2
in a geographical region would not necessarily accompany with
identification of form.
Keywords: Culture, Creativity, Design, Form, Myth.
1. Introduction
In order to understand culture we have to know concepts and elements which together make culture.
Such concepts can be considered as : geographical borders, countries and literature, historical
buildings, Handcrafts and artifacts, beliefs and religious concepts, scientists and other successful
people. All these together generate the cultural identity of a region. The effects of these elements in
human consciousness can be considered as behavior, function and thought. Myth can be considered as
the main cultural foundation and can be assessed based on that. The aim of designers are not just
leading human toward happiness but also inspiring them with meaning and value. Regarding
Kandinsky: Relations in art are not just based on form but they also contain an internal synergy with
meaning as well (Kandinsky, 2013).
2.Case study:
The environmental design and the ground of Darband River has been chosen for our study. This river
is located in the north of Tehran, with the length of 4723 meter and the width of 7 meter (Structural
Consulting Engineers Angam Architecture, 2012). The location is described the Municipality in this
way: 1. A region with historical and cultural specification, 2. An entertainment region which should
motivate historical and natural sights. 3. A region with predefined population and high quality
structures. 4. a region with functional pattern with having a function for living centers.5. a potent
region in supporting services for tourism sector. 6. A diplomatic and interdisciplinary. 7. A region
with fluid traffics. 8. A region having the privilege of having the identity of city-park .
Methodology:
Kansei Engineering
Kansei Engineering is a method for converting emotions and affective Aspects into objective
parameters. It was invented by Prof. Mitsu Nagamachi as the head of International University of
Hiroshima in Japan. This method has the capability to assess different emotions and show their
relation with the real products. Therefore this possibility could be introduced that products should be
designed for generating emotions and emotional states (Khodadadeh and Toloii, 2008). Based on
definitions of creativity and culture, received emotions from users can be affected based on the culture
they have been grown upon and it can be different: from happiness to pessimism, or from interest to
boredom (Khodadadeh and Toloii, 2008). There is nothing said to be wrong or right, because every
culture has its own relative domain of definitions. Kansei Engineering is a simple method of
knowledge and it can guarantee that product or related services can generate favorite emotions and this
work can be done only by knowing the common emotional domain. Procedures and methods of action
would let the designer to consider emotions of user as a reference and then translate them into design
elements. According to Nagasawa, who is one of the pioneers of Kansei Engineering, there are three
points in this method:
 How to understand emotions and sentiments of the user
 How to translate the affects correctly and be changed into product design
 How to generate a system or organization for executing a directed Kansei Oriented Design.
It seems that understanding the affects and emotions of user would be possible unless the designer
would have an understanding and total knowledge of the user of the desired product.
Perceptual Analysis
Perception can be defined based on different aspects, which one of them would be psychology. From
viewpoint of psychology, perception is a mental process which its’ function is choosing and

3. 3
organizing emotional information and then adapting them into mental meaning of the observer in an
active way. As the mentioned above show us, there are different elements affecting the perception of
the person, one part is related to the receiver, as the human and the other part is related to the
environment. Our contemporary knowledge about the visual perception is located in the laboratories of
Gestalt Psychologists (Arnheim, 2013). Detailed analysis of artistic works cannot help us to
understand the whole message within a work of art. There are different elements affecting the
perception of the user. Our optics can make a huge part of generating relation between human and
environment. Smell, sound, balance, texture, form and shape which define space can also have an
important role in our perception process and all these elements can be affected by the culture within
which the subject has been grown up.
1. Findings:
Symbols which contained the meaning of water and their specifications in different culture were
gathered and 8 symbols which had more applications were chosen. (Figure.1)
In the next phase, 214 adjectives that were the result of library studies and interview about the
specifications of water in Iran (Anahita) were gathered (Hynlz, 2009). After sorting and omitting of
phrases with similar meanings, they were categorized into 4 groups. The head-phrase for each group
was named as clean, fascinating, fertile and proud (Figure 2)
2.Transforming phrase into form
Based on the previous research (Khorsandian and others, 2009) which was conducted in 2009 in order
to generate a relation between mental concepts and form, 50 bachelor students of Industrial Design
Figure 2.The selected words for the goddess of water (Aminsobhani, 2014).
Figure 1.The Symbols of Water and characteristics (Aminsobhani, 2014).

4. 4
from University of Tehran and Al-Zahra University were chosen and a study based on the previous
research was conducted:
they were asked to design the first form associated in their mind regarding those adjectives.
The first group: water, clean, open space:
The result: curved lines and forms have direction. Designs are mostly horizontal. Rhythms in all forms
imply movement. Images are simple and light.
The second group: water, fascinating, open space:
Images are mostly considered as complicated, curved lines and rotations are mostly inward in most of
designs.
The third group: water, fertile, open space
Designs associate rhythm and diversity
The forth group: Water, proud, open space
Movement from left to right would be seen in most designs, integration of lines would imply
complexity of forms. Forms are static and vertical. Lines are sharp and breaking.
Discussion and Result
The results show that 80% of forms containing curve shaped, simple form and moving from left to
right do have the meaning of being clean. About 10% of participants have drawn a water-pool in order
to show the concept of clean, it can give us a feedback about the meaning of water in mythical thought
regarding Iranian culture and architecture which needs further research to explore the reason. 82% of
designs associating the concept of fascinating has used the concept of complex forms, expanded and
movement outward. 91% of forms considering the term of fertility were visualize by rhythm and
angled lines. Apparent form of water in form-studies were quite effective. In continuum of the
research, in order to show the effect of cultural education and their association in improving creativity,
an exam would also be conducted from non-Iranian people and results would be studied. We believe
that designers can use these effects in order to enrich their design ideation process.
References
[1] Aminsobhani, Parisa. (2014). Further elements of the urban environment to enhance the user experience in
Iran, Master Thesis. University of Tehran Kish International Campus.
[2] Arnheim, Rudolf. (2013). Art andVisual Perception: A Psychology of the Creative Eye; Samt, Fifth Edition.
[3] Guerin, Wilfred L. Labor And Morgan, Earle and Reesman, Lee and Willingham ,Jeanne C. and Willingham,
John R. (1999). A handbook of critical approaches to literature, translation by Zahra Mihankhah, Tehran, Press
Etelaat, Third Edition.
Figure 3.The Symbols of Water and characteristics [Reference: authors ].

5. 5
[4] Hynlz, John Russell, (2009). Mythology of Iran,Translated by Amozegar, Jaleh. Tafazzoli, Ahmad, Tehran,
cheshmeh press.
[5] Kandinsky, Wassily. (2013). Concerning the spiritual in art, Translated by Azam Norolah khani, Tehran:
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[6] Khodadadeh, jasmine, Toloii, Nata. (2008). Kansy Engineering: A Case Study of mobility aid for the elderly,
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[9] Sattari, Jalal. (2000). mythology, and the formation of national identity, Last visited:10/18/2013. Available:
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