5 sles s Adal) Oban dee pas Gay) od case Sky aay / ln aig pa Gol ede Fs Les3 ) OS A) Gt Ny Ana) 5 lanl Sls hy a jlad sl Ga ASI) Gob Y 8 Oe Gk est 4a at)y Gill Gas Ulead! y clad) Jali Shaul pl) Cast) Gags «Ad pall NI uth sky Sled) bie yp by jad phy 6 Ul y GL) joullS Gata Ai all isla y ish ol Se Od tl le 3 lanl! Gl Olid dnt La) 2 LAN yea og) hy Akg Glaly Gi jiae od pecadll eles ge V5 99 Ganlly ABU gb ale y Sula Gb eats Sal eo Ley AE Gall 3 gl USS Aa jal GatL ay ARLEN Ga Se gay Cal Gay Mayall Gb US oe Lass past Lay Solel) dati gd Jala a Laat agi Le gal ht All Gila lle Meal 5 sells Aide) ye ADU Cb sine pi lil ods ats Craftsmanship and Architecture Dr. Areage Karim Majeed Al-Sadkhan Lecturer Architecture Department — Baghdad University Abstract: ‘The lack of clear distinguishing between the basic characters of. architecture and the functions that it can play, which belongs to the craft, oriented the research to find the zones in which the architecture and the craft meet together. These zones are functions, emotions and skills, The research investigates that architecture is an expression of emotions towards internal and external stimulations, but it can also do what the craft does, by arising emotions for amusement and magic using skills of technique which are specific to each work of art, differs from skill of craft which is common to all man-made products. Key Words: craft and architecture, design and craft, philosophy of design and craft. 80.AN ch Sis pe te Ning gy Neath egal beat gs) lyiy cLapty AE GD 8 Sige hiss Gh Al oF bnew it euaiy Shee oof Hall Sigs Nid pl) 5 ger sal) aw ithe tel oo Cah cys EIT oe i gb Oe Hl Leas daly shel Ui bn dia yp & Gus geal S Su epi decay Satp stl elas of ot Fels Lille By y i gis ic + Gybeel) diol) gpa cal eo aud of Sa Ls elo AAs Sad Cu J gS Ley ala I Se ell Cul gay as saat) bial ot! A Nit. 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Gal el rai lieial de geil yall sae s 4uhall yal se) Galil Sells eves Aub a5lSl ply Gilad Gly Jat alash atl py (Aid Ud GS Mega oh Cincy Vg pb ual JSG Gaull psa) 555 Al ol oll A Hy phe slSlane 4b pia je oS asl gle 5 Say « Rubi ane ALIS SGV 5s oll eg Sa AIS Gal asks le WE yt Abe ad cay GJ sapiil oe ly gl Fleas Sil oe Sela) gh -# Be a cyst, tay La hse A) ull lees paesll lee GAS Ghinne te sosue (alti CIB Flea) SI ich g slanall pascal heal Sal) oa sala) ely (VAAN) GsSla ey Sudip — dake cs sntlad bee a dea soba! piles Galea (1°) 3a) a peal! gle SalI STL gpl, Auta head ple” 6(V4V¥) Chie 12 cggugy = ill gf ilaey gas sil che gf ae Gey, jy A sod cAgill LL : valak Label) 430d dy poe pat agi Gill! «(1 440) yh aaL — Gashgo lsd Aap e's al GMa alall TTY mene God Gee = uD peed Gags Gly =) Asda Gal gh 4s ll DU «al (common sense) 4d 5 phi Sl El) of GLY) Ge Leal aan Ales V GAENI Ibe of a ig gl get le Jie gs de gh Legis eS S83 ey abe case Ath quay Le oy pene Sha ayyhidd eal tl ler 6 eal LS Nim Ceti SAM) peal) Maka) tg agques (1960), “What, sPatL TieSoee eRe hiicago. ‘ Joseph (1949), *hitecture and the Spirit * jae GCeathigee = = eee Jones, J, Christopher (1973 SDesipn, Methods sec oh Saat ne Human Futures”, Wiley- “Philosophy of Art”, Interscience, London, New York. of Philosophy Series, Prentice ~~ Lawson, Bryan (1997), “How Vall, Inc. USA. Designer Think: The Design Alexander, Christopher (1967), Process Demystified”, A Member ‘Notes gu the Synthesis “of of the Reed Elsevier Ple Group, Form”, Harvard University Press, Oxford, Gs ewis (1952). “Art and Allsopp. Bruce (1952), “Art and Technics”, Columbia University ‘Nature of Architecture”, Sir Isaac Press, New York, Pitman & Sons, London. Reekie, R. Fraser (1972), “Design Antoniades, Anthony C. (1990), in the Built Environment”, “Poetics of Architecture: Theory Edward Amold, London. and Design”, Van Nostrand Robertson, Howard (1944), ‘Company, New York. “Architecture Arising”, Paber and = Collingwood, R.G. (1963), “The Faber Limited, London. Principles of Art”, Oxford University Press, London, Decker, Howard (2000). “On Tradition and Architectural Kducation”, Thursday Architects.