1． 符號：不同的主題支配著更深層含義 2． 模式：比例和細節能強化設計的合理性 3． 省思：透過多重分析能更貼近創新 4． 經典：流暢的空間表現法 5． 比對：大自然間中的現象 6． 類型學:過去即有的形式與類型 7． 歷史價值：表達結構性建築 8． 目前價值：表達可行性建築 9． 未來價值：表達概念性建築 The purpose of this research is to practice on a conceptual design based on the cognitive model of pavilion architecture. Concepts in design studies usually correspond to the presentation of forms and values. Therefore, the aim of the presented research is to identify some characteristics of concept making that make it effective in the design process and design cognition as a guide to pavilion design. Its methodological approach draws on textual and theoretical knowledge from Mies van der Rohe''s German pavilion in 1929 World Exhibition in Barcelona.
The research is based upon the analysis of Josep Quetglas’s textual interpretations in German Pavilion. The significance of pavilion design in modern architecture is addressed via the exploration of three areas of research, termed as: (1) The Materiality is related to the grammar of conceptual design, it’s not evident which cognitive abilities and styles are inherent to designers. (2) The second area of exploration is the technicality; it is concerned with conceptual design typically defined as a series of spatial experimentation. (3) The third area of exploration is the product. It is linked to the materiality and Technicality by the commonly accepted ideas.
The end result of this research reveals nine key elements that rules the conceptual stage of pavilion design are proposed as followed:
1. Symbol: different subject assign different meanings 2. Model: proportions and characteristic profiles and details 3. Critique: signal their opposition to idealism 4. Representation: fluid space for performances 5. Comparison: inspiration by nature 6. Typology: form or type to a historical moment 7. Historical Value: which convey the framework of architecture 8. Present Value: which convey the capability of architecture 9. Future Value: which convey the concept of architecture