recognition | System Architects


The 50 Most Beautiful Homes [AD50]


A house is always conceived as a manifestation of the personality of those it is meant for. It’s an idea that fi nds appropriate expression in the austere concrete proportions of Jeebon-Anondo. Located in Dhaka, the house was
built as a haven from the noise and the bustle of the city. The box-shaped outer shell is analogous of the overarching desire of parents to offer their offspring shelter and protection from the outside world. Its city location
prompted the architectural fi rm System Architects to design interiors that brought in “spatial hierarchy and made the connections enjoyable and meaningful”. A consideration uppermost in the mind of the architect was to build a house that forged a connection with its inhabitants, and provided easy access across all four levels to the differently abled eldest son. The central space is dominated by fi ve circular pillars, a metaphor for the family being the “backbone and structure of the building”. The unrelenting opacity of concrete is relieved by circular openings that punctuate the shell and break from the otherwise angular geometries. “A circle is a symbol [for a] moment and a drop connects to that moment which brings light, water and drama into the living spaces,” says principal architect, Enamul Karim Nirjhar. Glass and concrete engage in a duet that results in an evocative play of light and shadow. The house, when seen as a whole, becomes an almost poignant celebration of daily life.


Architecture ASIA Magazin [AYA AWARD]


AYA JK CEMENT Architect of the Year Award 2005 for the design of the Headquarter Of British American Tobacco in Mohakhali, Dhaka.
Client: British American Tobacco, Bangladesh


Berger award for excellence in architecture 2014

Conceptual corporate neighborhood ninaKABBO

Berger award for excellence in architecture 2014 Conceptual corporate neighborhood ninaKABBO


Architecture Asia Magazine [July 2007]

LIAKAT Ali Residence

URBAN LIVING ENVIRONMENT in our country generally varies according to the built area & land area ratio. In our country there is a crying need for the dwellers to utilize maximum spaces according to their needs along with their land areas. Sometimes ae3sthetics conflict with their rational needs. Positive outdoor spaces are really a crisis factor in our residential plots. The project location is in Pachlais, Chittagong. It is the port city of Bangladesh. Natural settings with small hills elsewhere and terrain land levels make its topography outstanding. The architects made his consideration in the project’s functional layout, as he connects north & south side facing rooms trough a connecting bridge.
The built area is considered on one side of the cardinal line while the other part is considered for open space. The building is North-South elongated considering 50% land from the front side. So 50% open space is the positive space where landscape with a swimming pool is accommodated. As the sun rises from east and sets at west, so at noon the foreside spaces get enough comfortable shadow. This is a positive solution for the client that has to be appreciated. An interlocking position of forms made of fair-face concrete structure with limestone cladded building. The architect’s taste of using materials as glass, aluminum louvers, limestone, as well as different types of wood makes an interesting intermingling of contemporary & indigenous materials.



Architecture ASIA Magazin [April 2007]

VOOT the restaurant

VOOT is a Bengali word, generally indicates some super natural power that rules. In our country stories are based on ghosts is so popular than everyone feels interested to have some gossip on it.  Ghosts are generally found in haunted houses or in trees. Everyone feels scared to go there. But sometimes fear takes joy & pleasure.
The preliminary idea of this restaurant was to conquer the fear & frustration with joy & entertainment. Urban life in Dhaka is in transition. People become obsessed with the mechanical life. But where to go, to get some different entertainment! Where to find a place, which can give mental relief!



Architecture Asia Magazine [June 2005]


When the architect of this restaurant fell into a discussion that questioned his identity it gave him a feeling like he was nowhere. In an impetuous state, a sudden call from Hampshire presented him a challenge to face this reality and to explore a new identity for himself abroad. And so he stepped onto a journey to the west. 'WE' is the sign of a compass in the mind of this architect. The word `WE' is a combination of the first word of west and east.
The story behind the restaurant is - "an egg on its North-South axis, revolves around on an east-west direction oblivious to separation. How does the yellow yolk (or kusum- a bangla word or if used as a girl's name, means 'flower') inside it, part? Kusum- or the girl, grows up, and becomes a mother one day. Her touch of boundless affection makes music on kantha (a rural quilt) for the child of tomorrow. As time goes on the stitches grow and in the end, it all comes together to become WE". In all parts of the restaurant we can see the reflection of this story. The architect was given a rectangular space, with some obstructions on the outer surface and a very low ceiling to work with. At first he tried to solve the problem by making the space functional and giving it an abstract aesthetic. It did not work. He overcame the limitations and finally got it right; the restaurant now looks right. At the entry lobby
There is a waterfall at the left, which evokes a warm natural feeling. Working around the low ceiling, he gave the whole interiors a different look. the parallel walls are painted white on one side while a rural quilt - a hand written diary of the architect and fitted on Perspex - is on the other side. Text - both in Bangla and English - is written on the glass and the ceiling: there are different gestures of dance on the base of walls; detailed wood carvings on doors and walls give the restaurant an exceptionally beautiful Eastern look. To provide a contrast in materials, the Bar Counter has been designed as a lightweight structure.
The culinary arts of South-East Asia - unique in itself - has already won the hearts of the most demanding of gourmets. But as far as its design goes, the restaurant has been designed with only one intent which is that true togetherness will spread amongst all those who share the magical moments within the idea of WE



Architecture Asia

Residence 78

In the traditional rural settlement of Bangladesh, water bodies known as "PUKUR" is a common feature where circulation between the spaces is often organized. Like courtyards water bodies become common spaces where circulation between the houses often regulated. The project is in Banani, Dhaka. It is mainly an exclusive residential area. The Architect wanted a unique space, where diversified spaces can be enjoyed from a single volume. It was also a requirement of the client to make the spaces introverted as well as creating a climatic buffer. Thus Residence 78 is the modern adaptation of the urban context.
Space has its own configuration at different levels. This was done to perceive the totality of the house from terrace and form has followed the function. The interesting feature of the project is its central water body from which the uniformity of the spaces at different levels is found. Grandeur, privacy as well as comfort were the basic demands of the client. Ratio of solid void surfaces makes a buffer from the roadside.
Geometric organization of rectangular forms makes the internal arrangement simpler as well as defined circulation spine keeps the circulation user friendly. It is a fair face frame structure building. Brick is the main built material and limestone, glass, is cladded over its skin. Fair face concrete, brick, woodwork, stainless steel and marble are used as the main finishing materials. The design team tried to give the building a finished look by assembling different types of indigenous materials along with climatic comfort and spatial organization.





যে সৌন্দর্যবোধ ব্যক্তির নিজস্ব চেতনা ও দায়বদ্ধতা থেকে উৎসারিত, তাই আধুনিক স্থাপত্যকলার ভিত্তি। স্থপতি এনামুল করমি নির্ঝরের সৃষ্টিকর্মে এই সত্য দীপ্যমান। মুক্তিযুদ্ধ যার সর্বস্ব কেড়ে নিয়েছে, বাস্তুহারা হয়ে যিনি নিজেকে তিলে তিলে গড়ে তুলেছেন। জীবন-বাস্তবতার রূঢ়তা তাঁর অভিজ্ঞতাকে ঋদ্ধ করেছে। সেসবই আলো হয়েছে তাঁর স্থাপত্যে। ......... .........




The House 'Rivers' is a collection of memorabilia of its residents. Riverine Bangladesh is sprawled with an intricate network of rivers all over its vicinity. When the river flows over her body it connects lives and at the end of the journey it merges with the sea surrendering its dynamics to the majesty of the sea. This colloquial among River, Land and Life during its passage inspired the architect to design this Multi-family Residence in an obstinate city like Dhaka. Hence the architect attempted to assume a connectivity with the endless streams of river that merges with the sea and the streams of daily life merges to become part of a place that we call Home.


Indise Outside [Asparagus]


What could be more appropriate for a theatre restaurant than a name and theme from one of the most dramatic and amusing short stories ever written: Somerset Maugham’s ‘The Luncheon’. It’s what inspired architect EnamulkarimNirjhar to create Bangladesh’s first theatre restaurant. Maugham conjures up a fastidious woman who shudders at the mere mention of anything so mundane as food, but is persuaded to just try a little asparagus…and gradually a succession of delicacies which finally leave her young host broke. But, fortunately, a meal at Asparagus won’t leave you penniless- it will be an evening of professional drama combined with fine dining. Explaining the background to the concept, Nirjhar says that Dhaka, the capital of Bangladesh, has only two private organizations with stage facilities for the performing arts, though drama features prominently on the curriculum of both Dhaka University on the city’s central zone as well as Jahangir Nagar University on the city’s outskirts. Realizing the need for another venue for professional drama Nirjhar had long dreamt of establishing a theatre restaurant since he had already designed several successful restaurants in both Dhaka and Chittagong.

When he was able to bring enthusiasm among the promoters of a restaurant project to invest in the innovative concept of a theatre restaurant, Asparagus came into being. The entire environment of Asparagus conveys the theme, which evokes both drama and food, expressed through graphics, abstract paintings and meticulous interior detailing. The site was originally a two storeyed residential bungalow with a front lawn in Gulshan Avenue, one of the city’s upmarket areas. Its main entrance was to one side, leading to a portico which game access to the interior. There was a kitchen garden at the back. The ground floor consisted of the usual living room, dining room, two bedrooms, kitchen, garage and driver’s quarters. However, the bungalow had earlier been converted into a restaurant which had closed down. The client planned to use this same ground floor space and transform it into a new restaurant. Although the exterior of a building -  its architectural style; form and materials – receives the most critical attention, it is the interior, that ultimately determine its success or failure, It practice, the interior dictates whether the occupants respond to the building as a satisfactory or unsatisfactory environment. Since the site was originally a residence, both its exterior and interior had to be remodeled, with several extensions and modifications, the original facade is transformed and your see snazzy graphics and signage. From a step up platform a man dressed in the costume of traditional folk drama welcomes visitors. The drama continues as your step in. From the front garden, a column wall and beam structure forms a large triangular mass (erected at the boundary wall level) heralding the facade of the restaurant. The constructed slab allows a lofty, double height space in the interior. This area houses the reception and a dining area in front of the performance space. The side wall has a window in the shape of a triangle in conformity with the mass of the facade. The front wall, which used to be a load bearing wall, has been remodeled into a column and beam structure. A step now provides access from the front to the central dining area. The existing side window has been replaced by the stairway which leads to the mezzanine level. To create another dining space and a passageway to the banquet hall, another load-bearing interior wall has been dismantled and remodeled from the foundation level. One obvious essential was and unobstructed dining area, so a beam was added to provide structural support to the existing wall. The existing stairway has now been concealed from the main restaurant and tis accessed from the rear service area. Restrooms have been enlarged to suit the requirements of a restaurant.
A part from the main restaurant, Asparagus also has a banquet hall for parties and conferences. This new construction was shoe-horned onto the former kitchen garden. A setback from the boundary wall has been ingeniously landscaped with plants so that the banquet hall with its generous glass windows gets a vista of greenery.
A total service zone has been created and spaces designated for as office, a store, a pantry, a dishwashing area - and of course a greenroom for visiting performers. The original kitchen, servants’ quarters and garage have been transformed into a large main kitchen suitable for a restaurant. When you enter Asparagus you first see a double – height lobby and reception, leading into a lounge area with a water body at one side, and the exclusive dining area overlooking the stage. Performance facilities include and central lighting and music control booth, a waiting space for performers, and a makeup and changing room. Thought the stage is not large, its irregular shape makes for an unusual arena. Some guests in the mezzanine dining area also have a view of the stage. An elevated dinging hall and an exclusive salad and juice bar have replaced the original living, guest, family and dining rooms, and the verandah. A triangular aquarium with colorful fish attracts visitors as they step up here. Even an enthusiast like Nirjhar relished that all guests may not wish to watch a play while dining out, so he planned three dining areas; one for guests who would like to enjoy both food and performance, a mezzanine level for guests who may want to watch the performance while they dine, and a third for guests who do not wish to see the performance at all.
Nirjhar has given Asparagus and up to the minute ambience – right from the partition façade behind the welcome desk, with its abstract sculptures of wrought- iron tress set in a panel of mirrored glass and wood. Elsewhere design details fabricated with wrought – iron elements lend a contemporary air and snazzy feel to the ambience of the entire restaurant.
A dramatic skylight illuminates the café theatre, while a handsome interplay of finishes creates a sense of excited expectation, light tones of wood, glass surfaces with screen prints of extracts taken from the story which gave Asparagus its name green landscaped areas, the story which gave Asparagus its name, green landscaped areas, the lighting, the paintings, the wrought-iron details… all highlighted by a skylight which illuminates this one of a kind café theatre.



Inside Outside [The White Castle, Square Center]

White Castle

The historical city of Dhaka is heir to a rich cultural legacy of architecture which can be seen in the surviving   buildings and monuments, and certain arcas of the city. The temples, mosques, palaces and havelis of the kings and nawabs, and the narrow dark lanes and horse-drawn carriages of Old Dhaka, have been slowly replaced by the emerging urbanised city. In this fast changing scenario, the buildings and interiors designed by Enamul Karim Nirjhar are statements of modernity that yet retain a traditional flavour.
Nirjhar is a young man of many talents. Starting off as a graphic designer while studying architecture, Nirjhar was invited to contribute a design for Unicef cards, by the Geneva Head Office. As a photographer, his name fig-ures in the Who's Who PSA Journal '93, and he has also won various awards. And, as a painter, Nirjhar has participated in National Fine Art Exhibitions. Nirjhar believes that interiors are the heart of a structure and a design is successful when it tells about the use of the space and its occupants; this depends on 'how much the drama of the interior supports the drama of real Ide and daily chores'.

THE WHITE CASTLE Away from• the hubbub of the city of Dhaka lies Safura Tower in Banani, of which The White Castie restaurant occupies the topmost two floors, the 15th and 16th. Its spacious arca, covering 5,000 sq ft, with a capacity of 175 guests, is a fine place to enjoy some quiet hours. The brief called for an ambience which brings the outdoors in, a linking of exterior and interior spaces, by introducing as much openness as possible. The space had to handle both buffet and seated parties, and provide a comfortable interior with a sophisticated, international look, which would attract guests. To create the sense of openness, and exploit the spectacular view from the building's topmost floors, Nirjhar opened up the north and south walls by low-ering the sill levei, and treated the east and west walls with tinted glass. The name of the restaurant demanded something sophisticated, and although Nirjhar was more accus-tomed to working with modern graphics, simple lines and primary colours, he undrrtook the chal-
lenge to work with curves and mouldings, with elas-sical elements and subtle colours, to create an arena ofluxury and style. As you step out on to the 15th floor lift lobby, you are greeted by a smiling host and a black granite-topped reception desk. The lobby is moderate in size, but bold and inviting with four classical columns defining a brightly lit surface on which the logo shines in brass. The staggered false ceiling, with a combination of direct and indirect light, highlights the space, while huge potted plants make the place come alive. The lift lobby leads to two dining arcas on either side and one enters through arched doorways, with wood framed glass doors and elegant brass handles. The dining lobby has a polished floor of non-slip tiles and a round, dropped ceiling with a chandelier, directly under which is a moulded pedestal bearing a display of fresh flowers. Several slender grey columns define this dining lobby, while rectangular plant boxes provide a lively contrast to the toned down colour scheme. On one side of the lobby lies the grey coloured cashier's counter and the stairway to the top floor. Then comes the dining area. The plan of the restaurant is open and spacious, the style, warm and soothing. The richness of the polished walls, columns and ceilings are gently toned by a mono-chrome low contrast colour made by the architect himself. The square tables have simple mouldings, and the upholstery of the chairs matches the colour scheme of the room. A dust grey colour carpet com-pletes the colour scheme. A combination of fluorescent and tungsten lights from the moulded two-layer ceiling throws an inter-esting pattern of light and shadow over the total space, the furniture, the plants. Mural paintings depicting white horses placed under the air-condi-tioner, dominate the wall and make the AC less noticeable. Actually the louvered panels have been designed to hide the AC. At the other end, this treatment of the air-conditioner is repeated, but the
louvre have been made to look like part of a win-dow A dramatic view of Dhaka is seen through long, tinted glass on the north and south sides of the din-ing areas, which replaces the original smaller win-dows, offering considerable transparency. In conti-nuity with these glazed openings, the east and west walls have been treated with black tinted glass, giv-ing a feeling of an opening looking on to the night sky. A carpet-clad staircase leads upstairs. The stairwell and other niches are accentuated by lighting, and adorned by painted earthenware in assorted shapes and sizes, matching the entire colour scheme. Even a recess accommodating the AC on the staircase land-ing has been camouflaged by a simple pot, softly backlit. The second floor houses the kitchen and the din-ing space with a delightful terrace where. one can enjoy the view. Pottery and foliage adorns this space. There is a cleverly designed kitchen and service area, and service stations at convenient locations with ample storage space for the matching napkins, linen, cutlery, etc. The location of the toilets is hidden and beautifully parititioned by a square grid, mirrored panel. This inviting environment is complemented by a team of smiling waiters, attired in white and black. This was a challenging job for the architect, who had not only to design the interiors, but create a total image for the restaurant, starting with the logo design, menu, waiters' uniforms, even the ads and promotional flyers. As the restaurant is located on the topmost floors, Nirjhar had to attract customers by some kind of representation on the main entrance on the ground floor, which could be seen by passers-by.
This he did by decorating one side of the entrance with a carriage and two white horses standing at a modern traffic signal, seemgly waiting to head for The White Castle. This work consists of two and three-dimensional graphics with boards and neons — a sym-bolic representation of the past meeting with the pre-sent, conveying the message that tradition can blend with the needs of today.
Nirjhar's recent work includes the much appreciat-ed Chairman's Floor, and Hospitality Floor (Restaurant) on the 12th storey of Square Centre. The latter has a 2,000 sq ft restaurant where one can-host buffet parties as well as formal sit-down meals. The open floors are accessible from either side of the lift lobby and there is an open terrace in front. An interesting mural on the wall has been created from chess elements and square grids. The use of indirect light, and the unusual green colour scheme makes the space special. Nirjhar is now working on the remain-ing 14 floors of Square Centre, besides the renova-tion and interiors of Hotel Agrabad, a new two-level 8,000 sq ft restaurant at Chittagong and other pro-jects. The IRA Training & Welfare Centre for Jagorani Chakra, a complex covering 150 acres of land at Jessore, has been commissioned to him recently. Nirjhar's work is characterised by an appealing style of simplicity. He believes that minute details and functional solutions in an interior help him to blend in the architecture with better efficiency. His work is usually remarkably thorough in detail, with unusual colour schemes, resulting in interior spaces which are pleasant to look at and comfortable to use. He tries to work with local materials and crafts-men, and attempts at modernising the materials and the skills of the craftsmen. This dynamic architect enjoys his work and believes that 'life is a burden when work is a load; life is wonderful when work is a passion!'



White Castle

What is professional practice; a common definition of professional practice or professionalism is a decision to acquire and exude knowledge and skills in a chosen field. Knowledge and skills in professional practice are reinforced by other attributes including: accountability, workplace etiquette, communication, performance excellence, leadership and respect. In this country negative expression carries out about many professional practices. That's why despite being noble practice we can only see the bad portrait of that profession. For childish example doctors became more interested on selling medicine rather than appropriate treatment or the lawyers is selling out justice for the powerful (sorry for the examples). The same way architects may have been seen more eager to sell tiles than creating design. That makes people think an architect as sales person instead of an artist or dreamer. Do we know how to describe an architect? Is he a technician or an engineer or an artist or a dreamer? Architecture practice has been in our country since 1960s. It has been over half a century but we are confused till this day when it comes to justify this practice. What is the reason did we ever try find out? We strongly hold the belief in our journey that only a proper practice can lead a profession to a noble position that becomes useful to life. There are many architects in Bangladesh who might not be financially solvent but their belief is so strong, they haven't moved a bit from their ethical stand.  These words are only for sharing and might sound very much fundamental and idealistic. But it's not that, what constant truth that would not change ever doesn't matter how much the people or the situation changes. This country gained it freedom with a great expectation. It's very important for every person to strengthen up their professional practice while staying in their designated place.  We dream of a very nice, healthy and holy professional practice in architecture and working very hard to achieve that professional holiness for greater good. Glory of professional practice, whoever destroys is the enemy his profession. At this moment architecture practice and architect community plays vital role to build new trend of professional practice to create and develop many better community to society and from that can build a better country. How do we want this development, architects have to give that decision.




The word "Duality" comes from the Latin word duo meaning "two" and denotes a state of two parts. Duality generally refers to a problem offering two possibilities, both or neither of which is practically acceptable. The term 'duality' was originally coined to denote co-eternal binary opposition, a meaning that is preserved in metaphysical and philosophical duality discourse but has been diluted in general or common usages.
Design involves a conscious decision that determines the aesthetical and functional aspects if a structure. This idea is interpreted through a detailed graphical drawing prior to the execution of the design project. In other words, design involves the creation of a plan or convention for the construction of an object or a system such as in architectural blueprints, engineering drawing, business process, circuit diagrams or sewing patterns. For the various fields of creativity, design has different connotations. In colloquial language direct construction of an object is also often referred to be design.   Every individual has their individual philosophy and moral compass that influences or is reflected in their actions. When an architect starts defining a concept behind a design he or she has to keep in mind the various facets about relative or associated topics and the needs and expectations that come with it. One has to think creatively and out of the box to ensure fulfillment of such expectation which have no specific pattern. Besides committing oneself to fulfillment of design needs, the designer also has to face duality on the design desk and that is where the true journey of his design starts. Architectural design has always been a multi-dimensional practice. The architect has to be capable of paying attention to every detail and defragment and integrate his ideas continuously to remain sensitive about the design.  This meticulous thought process often gives rise to what is known as design duality in the design desk. The architect has to find the perfect balance between his design ethics and the client's taste, his or her expectations, for giving a successful output.
Duality on the design desk is a common phenomenon for an architect's because he always has to be foresighted and futuristic to produce a satisfying design which requires constantly considering all possibilities and potential the design might have. One philosophical idea or concept which seems logical at present; might pose to be illogical or impractical decision at another point of time in the future and it is the architect who has the responsibility of being foresighted. This thoroughness and variety of options that an architect decides from, often tends to generate duality in the design process.  
Duality can also arise from financial factors. An architect often faces the dilemma of how to produce what he envisions within the budget frame that he is provided with for a project if he is given one. Convincing client what is best and negotiating what is possible, what can be overlooked in the design and what must not be, also often produces duality on design desk. It is suggestive that an architect is articulate in expressing what is best for the design project and convince the client to alter the budget as per requirement of design if necessary.
Duality should be looked at as a negative aspect of the design process. Duality requires scrutiny to resolve. The designer has to develop logical solutions which were not considered before. This in turn results to refine the design in more ways than one




Life is a characteristic that distinguishes objects that have signaling and self-sustaining processes from those that do not, either because such functions have ceased (death), or else because they lack such functions and are classified as inanimate. Biology is the science concerned with the study of life.
Cells are the basic unit of structure in every living thing, and all cells arise from pre-existing cells by division. The activity of an organism depends on the total activity of its cells, with energy flow occurring within and between them. Cells contain hereditary information that is carried forward as a genetic code during cell division. In three words I can sum up everything I've learned about life: it goes on. -Robert Frost
Life isn't about finding yourself. Life is about creating yourself. - George Bernard Shaw
A man who dares to waste one hour of time has not discovered the value of life.-Charles Darwin
Life is a dream for the wise, a game for the fool, a comedy for the rich, a tragedy for the poor.
-Sholom Aleichem
Go confidently in the direction of your dreams. Live the life you have imagined. -Henry David Thoreau
Believe that life is worth living and your belief will help create the fact. -William James
There is no passion to be found in settling for a life that is less than the one you are capable of living. - Nelson Mandela
Life is an apprenticeship to constant renunciations, to the steady failure of our claims, our hopes, our powers, our liberty. -Henri Frédéric Amiel Life is short, and we do not have much time to gladden the hearts of those who travel with us, so be quick to love and make haste to be kind. -Henri Frédéric Amiel
I have found that if you love life, life will love you back - Arthur Rubinstein




A stream flows in the path where the earth has carved in itself and given it room to flow. Similarly human behavior and how they act and react to an opportunity is guided by the intention their mind proposes-its intentions. Dictionary defines intention as an act or instance of determining mentally upon some action or result that guides our planned actions. Creative fields such as architecture provide a clean slate on which an architect draws and redraws the path he wants to follow, how he wants to mend/affect the lives of people who are affected by his work and his practice. "There is no doubt whatever about the influence of architecture and structure upon human character and action. We make our buildings and afterwards they make us. They regulate the course of our lives. "Winston Churchill, addressing the English Architectural Association, 1924. As an architect enters professional practice, he stands on the educational foundation that encourages him to contribute to society with the belief that design has the potentiality of influencing users' behavior. The reality of the profession however also bring about many other dimensions that often has an implication on the desire to just work for the betterment of the society.

The question is why does an architect get into the profession?
For Fame, recognition and accolades? For experience?

For developing the skill? For the monetary benefit? For enjoying the art? For social benefit??? What does he respond to?? No matter how associated all these aspects may seem there is a fine line that separates them. And this line is what builds the character of the work of each architect. A striving new architect's primary aim might be to sustain in the profession, and an established architect's aim might be to create a name for his brand of architecture. Whichever it may be, it is the answer to the above question that determines the core of his work and no fallacy can conceal it. A designer has the skill set that is capable of influencing human behavior using wide range of technological, physical or psychological tools. Sometimes the behavior-shaping is helpful to the user; sometimes it's serving someone else against the user's best interests. Sometimes it's trying to get the user to do something; sometimes it's trying to stop the user from doing something. The common factor to all of this is intent on the part of the designer/planner. Intent derives the strategic design that's intended to influence or result in certain user behavior or extend to high-level visions of influencing wider social or community behaviors.


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