فصلنامه مطالعات شهر ایرانی اسلامی
پیاپی 27 (بهار 1396)

existence of a positive relation with one’s neighborhood can lead to higher levels of psycho-logical and physical health. Therefore, many researchers have been trying to suggest various solutions to revive this social unit in urban life. Achieving to this goal is dependent to attaining a deep knowledge about the process of person-neighborhood relations among different social groups. Due to the importance of neighborhoods in shaping place identity among children and fostering local identity among next generations, this paper is devoted to study and com-parison of children- neighborhood relations in both traditional neighborhood of Sagharisazan and modern neighborhood of Golsar. Results of this kind of comparison can lead to proper solutions for enhancing Islamic identity in Iranian neighborhoods. This research is qualitative one; Resident Employed Photography is applied to explore chil-dren- neighborhood relations in Golsar neighborhood. Children were described to take pic-tures from those places, individuals, and things in their neighborhood environment that trigger them to like their neighborhood. After taking pictures, they have provided descriptions about the reasons for capturing each photo in an individual in-depth interview. They also mentioned to different aspect of their living in neighborhood during the interview. In case of Sagharisazan neighborhood, mapping narrative method is applied to help partici -pants in the age range of 50 to 70 years to recall their memories and living experiences inthe neighborhood from almost more than a half- century ago.Results show that residence of yesterday’s children in Sagharisazan traditional neighborhood had been a completely social affair. They were engaged with the social and physical environment of their neighborhood from early childhood stage. This engagement ultimately leads to deep attachment to and identification with the neighborhood. But, children of contemporary neigh-borhood of Golsar are encountered to different pressures and limits for being present at their neighborhood. These restrictions can lead to crucial damages to their social and mental growth.

Despite its simple appearance, the Islamic city is one of the most challenging concepts studied in scientific disciplines including architecture, urbanism and the history of art. Besides theories approving or rejecting this concept, much research has been devoted to the study of the nature of the Islamic city and similar concepts. The importance of this concept is due to the fact that the viewpoints presented about it have had a considerable role in any attempt for designing, planning, and organizing of cities based on Islamic culture in the contemporary period and the Islamic city has been considered as the key to the explanation of Islamic urbanism. Despite the consensus about the importance and urgency of planning and design coordinated with inhabitants principles, values and cultures, coherent methodologies missed. In this regard using qualitative methods combined with critical thoughts about their facilities and capabilities can provide activist methodological tools to expose and reenvision the characteristics of Islamic city and Islamic urbanism. Over past twenty years situational analysis had used in a range of fields including art and humanities. In this article, we describe possibilities for using situational analysis in Islamic urbanism and provide examples of situational mapping from a study focusing on characteristics and components of Islamic city. In this regard we used pertinent texts from Persian literature about Islamic city as data and mapped individual and collective elements/ actors, nonhuman actors and discursive constructions. Situational maps, social worlds/ arenas maps and positional maps illustrated. The results of the study have two main aspects. On one hand the results is about Islamic city. In this case, this study concludes that Islamic city concept in its current place as described and introduced mostly by western researchers cannot be useful for explaining the relationship between city and culture and Islamic values and consequently for the manifestation of Islamic urbanism in contemporary cities. On the other hand the results is about using situational analysis in Islamic urbanism. Because of its capabilities and features, situational analysis can shed some light in research about Islamic city and Islamic urbanism.

Iran is a desert- mountainous land and for this reason life duration is subject to design and execution of water transfer smart systems. This climatic status caused creating various solutions for water transfer. Water shortage and difficult access to drinking water in the past led the local architects to think about design and construction of structures to meet different requirements. The current paper aims to analyze effective factors in creating various techniques to use underground and ground waters in ancient buildings of Isfahan. The other researchers in this field have dealt with various dimensions of water transfer systems including their form, structure, and quality of operation and each of them has analyzed separately a part of these techniques. This paper proposes comparative structure for way of water transfer and the reasons of difference and similarity between various examples in Isfahan city for the first time and it tries to draw types of transferring of ground and underground waters e.g. types of well handle, cow-driven well handle, and their dependent elements in ancient buildings using librarian and field studies, interview with the relevant masters, and by means of 2D and 3D software and investigate data by analytical- comparative technique. It was revealed by the conducted studies that various water transfer and wastewater disposal systems have been utilized in ancient buildings. Depending on way of access to water, amount of consumed water, water storage supplies have various forms. Smartly using from level difference in creating water flow that can transfer water from higher levels to the pool is a part of this old knowledge. This study will be able to operate on water transfer systems in other cities of Iran.

Space is one of the basic concepts of architecture, which is surrounded by the form and is perceived in the perceptual relationship between the perceiver and the perceived form. In architectural works, the articulation of spaces forms the spatial structure which consists of the internal relations and interactions of spaces. The spatial structure causes a special perceptual quality which has a fundamental role in the experiencing and understanding an architectural work. One of the appearing qualities in the spatial structure of the Iranian architecture is transparency that has had worthy appearance in the period of the architecture excellence, Safavid era. The goal of this study is to explain and classify transparency in the spatial structure of Iranian architecture, considering the architecture of the Safavid era. For this purpose, buildings of this period were divided into two types, according to their spatial structure: extrovert and introvert. Hasht Behesht pavilion of Isfahan and Imam Mosque were respectively chosen as extrovert and introvert types. The study, based on case study method, has attempted to analyze, explain and categorize various types of transparency in the spatial structure of Iranian architecture, using data from library documents and field observations. The findings of this research show that spatial transparency is diverse in Iranian architecture. This perceptual quality of space can be classified to “moving / perceptual” and “visual / perceptual”. Iranian architects have achieved visual / perceptual transparency through elements such as Fakhromedin, Shanashil, Hornoo, Shebak and Rozan, and have achieved moving / perceptual transparency through elements such as courtyard, porch and dome. Research findings also show that the elements of visual / perceptual transparency, in addition to their performance, contribute to lightness, visual continuity and simultaneous understanding of internal and external spaces; while moving / perceptual transparency contribute to opening, lightness, sequence, integrity and continuity of space, and one always feels space as defined but endless. As a result, Iranian architecture, especially in the Safavid era, has both spatial sequence and continuity. The spatial continuity always places a person inside a space which is defined.

Generally, art is a tool for transfer thought, belief and approved worthiness by any civilization that by study nation’s artworks can understand their ideology and belief. In this regard, architecture as art perspectives has special portion in rights and theoretical worthiness transferring in every society. In particular, when Islamic architecture is contemplated, the architecture works are manifestations of the Islamic tradition which is transmitted in the Quran’s paradigms and innocent words, from generation to generation and in different era in have been manifested in various forms. However, these works, based on any form and function, are based on common principles which they are referred to as the principles of Iranian-Islamic architecture. According to Pirnya, these rights consist of five principles: “Avoid of idleness”, “Introspection”, “Structure”, “Adequacy” and “Humanistic” which is represented in various architectural forms including home architecture. So, The Muslim architecture, based on Islamic principles, has tried to illustrate these principles in his architecture. The aim of this research is the exhibit ability of these principles in house architecture and rooting these principles in the theoretical foundations of the school of Islam. Accordingly, first by referring to the architectural texts as well as the views of the owners we have extracted practical solutions to these principles in house architecture. Then by referring to the Quran’s paradigms and the traditions and existing hadiths an attempt has been made to root them in the basics of Islam. Research methodology is qualitative includes descriptive-analytical method as well as content analysis method. The results of the research showed that the five principles of Iranian-Islamic architecture are entirely based on the beliefs and ideological principles of Islam. And the Muslim architecture with the knowledge of these bases uses these principles in order to manifest them in their works.

In recent decades, design processes become a common manner to create architectural and urban forms. According to the scientific basis of those processes, visual forms, needs and context are being noticed as the most important items. Needs and context have a quantitative attribute and working on them are very simple, but visual form is different. The aesthetic parameters have an essential rolls in judgment of the form audiences and unfortunately those parameters have not a certain definition. Thus in the design processes, those two other items mostly noticed and used. Given that physical modeling has been considered as the last aspect of design processes, the form as a precious element, carrying a valuable information which has been accessible directly or indirectly. In order to reducing the design process execution time, developing a proper form giver system will occur. At the other hand, the diversity of inspiration sources in physical modeling and lack of scientific approach cause a kind of uncertainty in design processes. The aim of this research is introducing the music as a valuable source of developing a new formal design method. In order to create a visual form, music and architecture have used mathematical ratios over the history. From past to present, there have been an interdisciplinary interaction between music and architecture, the reason of which is the pursuit of aesthetic continuing for centuries. In this research, feasibility of translating musical components into formal elements has been investigated and the analytical descriptive method was used creating a parametrical correlation between music and its formal modeling that needs an efficient compiler which can translate corresponding components to each other. The research process began with precedence studies of architectural works that are influenced by various fundamentals of music as well as architectural works that inform musical compositions. A comparison was then made between these works in order to understand how these musical elements have been translated into the formation of a space. The first act to transform musical piece to form is to perceive the piece thoroughly. Every piece is consisted of repetitions in itself. Such as a fractal fiction, tonal or atonal, small pieces are the portrayal of total. For this reason, within the frame of the thesis, an analysis in conformity with the process of creating a visual form has been developed. This analysis will be a reified version of aforementioned analyses. Also, a short piece of Iranian traditional music was translated to its corresponding physical model as the case study of this research. Based on this research, a new compiler model has been presented, which has three stepwise phases. The first step proceeds a comprehensive identification of two realms, music and physical modeling. At the second step, corresponding components have been recognized and the last step consists of translating components from the music to appropriate form. In order to examine the new model, the Kereshmeh piece from Chahargah instrument has been translated to its corresponding visual form. Consequently, it can be concluded that sound is space and space is music.