کاوه بذرافکن

The phenomenon of consumption and the prevalence of consumerism is one of the important issues of our time. Baudrillard shows that today, human understanding of reality and the real thing is formed on the basis of concepts such as simulacra and hyper-reality. The consumption system shapes the hyper-reality of consumption in the consumer society by creating and using a system of simulacras. Megamalls are one of the main means of achieving this goal in the consumption system. The purpose of this research is to find the mechanism of the effect of megamalls and their characteristics on increasing the desire to consume among Tehrani citizens. This research is a quantitative-qualitative research. By analyzing and deducting the opinions of Baudrillard, the related components of the concepts of simulation and simulacra in the field of consumption were extracted and formulated, and based on the results, a questionnaire was designed. The statistical population of this research was selected randomly among the people of Tehran and by their answers to the mentioned questionnaire, the data of this research was collected. The data was analyzed, using the components of simulation and simulacra and features of megamall, for answering the questions of the research. The findings show that megamalls guide human perception in the three domains of spatial, functional and social in line with the goals of the consumption system. In the spatial domain, the simulacra of being multi-purpose due to the variety of spaces, the simulacra of self-sufficiency and creating a territory by creating the feeling of entering a new land, the simulacra of distinct aesthetics by persuading the visitor's sense of beauty, the simulacra of centrality and orderliness, by collecting facilities and inducing a sense of the centrality of space and the simulacra of superstructure by creating a sense of grandeur, affect the visitors of megamalls. In the functional domain, the simulacra of creating a desire to consume and waste, by placing the client in a world of diverse products and services, the simulacra of well-being and peace, by providing diverse services and inducing a sense of peace and well-being, the simulacra of accumulation and abundance, by presenting attractive collections of objects the simulacra of time management, by creating a space to spend leisure time and wandering, and the simulacra of controlling social relations, by creating spaces designed for social interactions, impress the clients of megamalls. In the social domain, the simulacra of creating a distinction between clients, by creating a specific identity through the use of brands, the simulacra of people's prestige, by inviting people to spaces with special clients, the simulacra of culturalization and cultural acceptance, through the continuous change of the value of goods based on fashion, the simulacra of monitoring and control in the form of security, by creating a sense of security and safety, the simulacra of a distinct position of megamalls, by using the special social position of megamalls, attract customers.Thus, megamalls have an effective position in attracting Tehrani customers through the use of spatial, functional and social components.

Problem statement:

 In the tradition of interdisciplinary studies of architecture and human sciences since the 80s, the relationship and interaction between man and space have been studied mostly through the lens of behavioral sciences. This study draws upon cognitive science to examine human-space interaction from cognitive aspects, mind, and memory in spatial experience and show that the eventuality of space and other components depend on human episodic and cognitive memory.

This study aims to determine the qualitative ratio of the role of episodic memory in the eventuality of large-scale spaces through the comparison of spatial systems and visual symbolic signs.

Using qualitative, descriptive, and pragmatic methods, this study attempts to link the eventuality in space to the recording of space in active memory through surveying and mapping of behavior. Field observations were made through direct observation and the data was interpreted to map spatial events in two rows of shops in Tehran’s Grand Bazaar.

The results of this study show that two spatial and symbolic systems have different contributions and effects on the active memory and eventuality of space. The spatial system, endogenously, directly, immediately, and through spatial perception and experience expands the field for the eventuality and the symbolic system indirectly provides the recognition of spatial components by recording, rereading, and through mediation, with an effect on human episodic memory.

Iran's hot and dry climatic dwellings are among the valuable and important buildings of this land. Understanding the shape and physical characteristics of hot and dry climates in Iran will not only preserve and restore this precious achievement in past historical periods of Iran, but also play an important and useful role in identifying the hidden features and potentials in these buildings. The purpose of this study is to identify the structural features of the spring house in relation to other residential buildings, to study and analyze the effect and extent of the spring house in shaping the structure of hot and dry climates in Iran. In this regard, the researcher first extracts from a random sample of six samples of a spring house dwelling that extracts the frequent shape features in the spring house space and its effect on the emergence of residential plans. In this research, the research method is descriptive-analytical and the data analysis method is comparative.. The tools used in this study include gathering research findings through library, field studies, and interviews with technologists and professors. The results show that although according to the climatic pattern, the physical structure of most hot and dry climatic structures in Iran have a dominant north-south axis, but the location of the spring house space is always along the dominant axis of the house.

Research Problem:

 Design research is the field of dealing with content and procedural areas. Architectural design is the result of assemblage between diverse actors. The advent of technology-driven procedures has broadened the range of actors in the design process. This has led the balance of the share of designers and technical objects in the final result of the design disturbed. With the advent of technology-based procedures, machines are playing substantial roles in design and hence, changed the way designers face architectural challenges. Accordingly, it seems that the current design process has shifted from a reciprocal relationship to a spiral movement in which the role of each actor can be analyzed as an actor in the multidimensional network of design. Consequently, the design procedure would be analyzed as a network of actants. The actor-network theory, as a result, provides an approach to analyze events in the design process and is profoundly applied as a methodological tool. Every detail in the design process is like an actor who changes the course of the design. Therefore, the main problem this research is going to undertake is to explain how the actor network theory works in clarifying the role of actors and their impact on the collective design process.

Research Question: 

The main objective of this research is to enlighten the essence of actor-network theory as a research methodology and tries to find the answer to the subsequent questions: How to analyze the architectural design process with actor-network theory and how does this theory influence designers’ interactions?

 The current research is applying design research methodology in a qualitative approach and tries to explain actor-network theory as a research method in architectural design. A practical experiment is demonstrated due to actor-network theory and socio-technical diagrams were qualitatively described.

 The networked nature of the design process has enabled research studies to investigate the design process by actor-network theory. The analysis of the experiment (architectural competition) revealed that connections of nodes in the network were not hierarchically observable and they had a hybrid characteristic. In this sense, non-human existence in the design process was inevitable. The results of the analysis also revealed that collective design can be network-oriented if, in addition to being valuable among human actors, it accepts non-humans in an influential position. Such a design has a very mixed atmosphere and any (unforeseen) event in it can change the design process like an action. Human and non-human actors must actively participate in the design process to stay in the network. Finally, not only the contribution of the actor-network theory in the identification of the design network was revealed, but also it facilitated the analysis of nodes’ connections. Thus, in answer to the research questions, it should be acknowledged that by using actor-network theory in the analysis of the design process, the black box of design could be opened and with a new composition, design actors could be expressed in a socio-technical way so that designers, users and technical objects have an equal and interconnected role. This provides a new reflection of the links in design process and makes a unique narrative of design to each project. In addition, the role of the actor-network theory is to track actors, highlight links, and provide unseen details in the design network. Moreover, it also changes the way designers deal with design issues; as designers with a socio-technical approach would advance the design process in the context of networks and use any event as an opportunity to intervene in the design process.

Design is a multi-layered thing that has changed to meet today's needs. Collective design evolves by criticizing the individual approach, based on the cooperation between design actors. The basis of this process focuses on the dialogue of actors, and in it, learning within the team is significant. In this regard, the current research seeks to answer the question "What effect does dialogue in collective design have on the thinking and learning of actors?" takes a step The current research, in the category of design research, is conducted qualitatively and has a practical nature. The data in this research were collected from library studies and observing the practical action of collective design, and after coding, they were analyzed with logical reasoning strategy. Interaction in the design process transforms the nature of design from an intuitive and individual matter to a collective event. The findings show that four models of open, closed, hierarchical and network layouts can be obtained in collective design, which can be used to integrate these layouts in order to achieve different results. All these models are conversational. Observations of the practical experience of collective design show that the quality of conversations is more critical and the role of critical thinking is significant in it. Also, considering the three levels of active, experiential and collaborative learning that emphasize collective interaction; The cycle of dialogues affects the learning of activists and causes intellectual transformation. This learning conforms to the social learning model and works as an idea generation machine by providing parallel solutions.

One of the most important aspects of using tangible heritage in the field of historic buildings is to pay attention to their sphere of influence and valuable assets in terms of culture, art and society. Meanwhile, the issue of adapting these cultural elements to the needs of different time periods has become a challenging area in the process of part of the interventions in this field.The need for an efficient and holistic process in the field of physical interventions in tangible heritage has become more important than these interventions. Accordingly, the present study seeks to investigate this area in a case study of the holy shrine of Razavi with the aim of identifying and reporting the policy process of physical interventions in the surrounding context and identifying its effects on the social arena of neighbors.In this way, it seeks to answer the key question of how the tangible and intangible heritage of the holy shrine of Razavi has been present in the process of re-creation and physical intervention of the restorations. For this purpose, using the qualitative research method, library resources have been collected and their interpretive analysis has been done for the purpose of comparative study.

Today, despite the expansion of interdisciplinary topics in cognitive sciences, psychology, and architecture, there are no definite, clear ideas about the role of designers’ conscious and unconscious in the process of creating a work of art. On the other hand, the absence of a way to create common meanings has resulted in a deep gap between the thought space and the perceived space. Fundamental and continuous changes in design research and its connection with architecture and education have led to the rupture of designers’ direct experience of fixed spatial patterns and has resulted in the loss of formation of natural development, life, and transformation of architectural archetypes used to represent primitive conceptions and models.

While introducing the features of spatial units of Iranian architecture that have continued in the works of current Iranian designers, the present study explains the effect of designers’ direct and lived experience on the representation of archetypes in works of architecture.

With a qualitative approach, the works of Iranian architects educated abroad were collected and analyzed using Strauss and Corbin’s grounded theory. Then archetypes of Persian garden, central courtyard, porch, and Chahartaqi were classified according to physical and semantic space criteria. The classification included open, axial, and selective codes. Among the four selected archetypes, the items about which the studied architects had direct and lived experience in their space were identified and compared with the classification results.

The designers’ lived experience was found to play a significant role in representing architectural archetypes. There was a greater tendency to simulate the central courtyard archetype wherein Iranians had lived experience. The continuity of meaningful elements of the porch and theemergence of some systems and themes of the Persian garden were evident in rare cases.

This study aims to explain the idea-product correlation in the process of evolutionary construction and computational approach. This research is based on the criterion of purpose in the group of applied research, based on the criterion of time of data collection in the group of survey research. The statistical population of this study includes people who have a history of research and study in this field and the information obtained through this has considerable validity and reliability. The sample size in this research using SPSS SAMPLE POWER software is equal to 200 people and Sampling method in this study is simple random sampling. Data analysis tools are questionnaires of SPSS & AMOS software. In order to test the research hypotheses, the first-order sample test and factor model have been used. The findings of this study showed that; Achieving the solidarity and coherence of the idea-product process at the present time depends on the correct use of the evolutionary construction approach and the computational approach. The variables in the designer include conjecture, evaluation, and decision making, while the computer-dependent tool variables include performing complex calculations and presenting multidimensional and complex designs. In the present age, despite software advances as well as the use of various approaches such as evolutionary construction and computational approach, designers are less successful in linking their ideas to the final product.

Architectural spaces with the capability of spatial organization and internal transformations can respond to a greater number of their users' needs at different times and thus provide more desirable performance than single-functional spaces. The necessity to access this ability is one of the subcategories of flexibility in housing as a contemplative subject. The purpose of this research is to provide an analytical model in relation to recognizing the space syntax method and using its indicators to measure flexibility in housing. Residential complexes in Tehran city are evaluated as a research society. In order to better express the problem, this research attempts to answer the question of how to use the indicators of the space syntax method to measure flexibility in housing. The research method in the present study will be of mixed type and its performance method will be based on computer simulation. The information-gathering method is based on the library study, and also the field survey includes using available information and observation. The information-gathering tool includes cognitive maps, noting, coding, and testing for the space syntax method through the Depthmap software. The information analysis method in space syntax is done through five components of connectivity, integration, choice, control, and depth. Flexibility is also examined based on the concepts of multi-functional space, seasonal and daily displacement, and segregation and aggregation. The results show that the spatial organization in residential complexes in Tehran city is based on the connection of the kitchen space with the living, dining, and catering spaces. Accordingly, the most connectivity, integration, and control, as well as the least depth, take place between them, which has led to the increased flexibility of spaces in relation to various activities. However, bedrooms are just a place to do a specific activity and rest, which confirms the reduction of their flexibility.

Presently, the closeness and sense of belonging between the architectural work and the audience are less felt. The essence of architecture is an amalgamation of sciences related to the man-made environment and specified teachings. The supremacy of the consciousness under the effect of external factors has led to modifications in indigenous styles and architecture and a lack of association between ideas and products in m buildings. The current study aims to assess the “idea-product” correlation in the process of evolutionary construction in traditional Iranian caravanserais as one of the most successful Iranian architectural structures and appraise the realization of the idea in the final product. Consequently, this research is “applied” and it has an “explanatory” nature. To study more precisely, via the qualitative content analysis method, the evolution of traditional caravanserais in Iran has been studied and the results designate that, to a large extent, in traditional caravanserais of Iran, idea indicators are realized in product indicators. So that the material and artificial nature index in the form of naturalism and climatism, the culture index has been achieved in the form of contextualism, the planning index in the knowledge-based form, the psychology index and spiritual needs in the form of semantics, the philosophy index and worldview in the form of semantics, the semiotics index in the form of symbolism, performance index and economic affairs in the form of functionalism index, social needs index and participation in the form of collectivism index, and finally technical affairs index and construction method in the knowledge-based form.

Transformation design is a centralized and interdisciplinary process that relies on individual imagination and methodological principles. Various architectural design models have been developed in the past that have attempted to connect the factors affecting the architectural design process, but they have not been effective.The researcher’s aim is to look into some of the factors and dimensions of tradition, as well as architectural achievements, that enable for the creation of a design model based on these factors. The typical factors that have unconsciously or consciously played a role in establishing of effect that have been considered by using the framework of the system and an analytical-descriptive approach and method in the current paper.The principles of tradition in the form of Goharshad Mosque were achieved thorugh spatial geometry, rotation, and a kind of transitional dicplacement by exterior walls, structural, and physical elements, whereas the principles of tradition in Reza Mosque of Tehran were obtained not only through fermi rotation but also by removal of index elements. A dome and a minaret shape the mosque’s framework. The other typical features include the presence of a garden pit and the distinction of the mosque from its surroundings. As a result, the tradition-based design model can be said to have values such as natural world harmony, spatial arrangement, form of geometry, visual design, and creativity and the design model of contemporary mosques, like Reza Mosque in Tehran, has drawbacks such as modeling past architecture regardless of construction time, simply modeling nature.

Problem statement: 

Architectural co-design has been facilitated through the development of digitalism. This has shifted to a new paradigm which has evolved the understanding of design process. As a result, design process has been changed in both technical and philosophical aspects and co-design, consequently, has acknowledged The Other in the design process. Accordingly, design is formed by interaction of at least two simultaneous networks.

This paper aims to focus on design as a socio-technical process by analyzing dimensions of actors, quality of network dialogue and the process of network in co-design.

The Actor-Network Theory is applied to study the actors of co-design process. The quality of network dialogues is examined by analyzing texts and different types of networks and their impact on design process are determined by comparing two co-design cases. Thus, the paper is using a qualitative approach to redefine each node in the design process.

Different actors, human and non-human ones, shape the overall interactions of co-designers. Using network approach as a theoretical base for this interaction, revealedorstd four main elements in the design process: acceptability of The Other, criticism-tolerance, sharing personality, and collective intentionality. On the other hand, results from the two co-design case studies demonstrated insights on socio-technical approach of design and its impacts on other co-designer’s network relationship.

The relatively closed, unrevised, out of date and non-native educational model, weak management in the link between university, profession and research, seem to be the most important reasons for the inefficiency of the field of architecture that can make valuable changes by applying interdisciplinary discourse. In this regard, the question that arises relates to the necessary planning strategies needed to increase flexibility and self-regulation in response to changes in society and meeting needs in architecture education despite the transformed structure of architecture today in the world and Iran.  It seems that the use of interdisciplinary knowledge leads to greater effectiveness among different fields of knowledge and its impact is reflected in the evolution of the field. The research method was based on a qualitative-quantitative strategy and attempts to introduce the effective areas of interdisciplinary courses in architectural development by using content analysis. In this regard, it analyzed the content of the curriculum of the top 9 universities in the world and compared it with those of Iranian universities, recommending the integration of interdisciplinary courses (optional and elective) and architecture education. Research findings show that interdisciplinary studies in architecture can, by linking the needs of society, research and education, the inclusion of different areas of knowledge in the content of the curriculum, achieve and build interdisciplinary knowledge that is a matter of time. By designing different educational models with a focus on interdisciplinary and background knowledge in the field of basic sciences can to some extent cause the dynamics of the educational system, training architects in various fields with interdisciplinary nature and thus provide its growth in profession, education and research.

The subject of the research is the processing of social factors of history after the Iranian revolution and its effects on contemporary architectural thinking. Effective social factors that are considered as a kind of involvement in the evolution of architecture of each historical period. Architecture as an interdisciplinary current has always been influenced by factors such as society. The question is what the relationship between architecture and social fields is and what is this relationship in the field of architecture for the 3 decades of the 1979 Revolution? The research hypothesis is that a study of the history of contemporary Iranian architecture can lead the researcher to a general vision of the current climate of society in the years to come and vice versa. Explanation of social elements is evident in architectural writings, and the resulting insight can be explained by reference to socio-historical events. Research is underway after a library study in both the social and architectural fields in order to gain an understanding of the society of those days and to follow the architecture of it, in the meantime, to identify and introduce the content of the authored works that are influenced by social factors. Research is qualitative with interpretive strategy, which explains the changing background of the intervening variable, such as society in architecture, through historical methods and the use of logical reasoning. The results of these studies show that the criteria for recognizing the social aspects of architecture in the three historical periods before the revolution, the 1979 revolution and the decade after the revolution, indicate a transition from a super-modern and luxurious society to a traditional-religious society and a return to a moderate modern society.

 Designing and its methods are always the concerns of people who work in academic and professional fields in different areas. Architecture as one of the central disciplines in this field has always been challenging the genesis of its works during different periods and the thinkers’ opinion from a different point of views; the results of studies showed controversial views about the methodology of designing. Meanwhile, some researchers in psychology and anthropology believe in the influence of some indirect factors in the emergence of artistic works that have led to the appearance of new horizons in the analysis of artworks and its referral to some unconscious agents.

This study investigates some of the unknown factors and dimensions involved in the formation of architectural work that the designer does not sense it directly, which unconsciously influences the formation of his/her design.

In this research, we used the “mythical criticism” method which by an adaptive analytical approach and an induction method, analyses the elements and concepts that have contributed unconsciously to the creation of the work and interprets its mythical motifs. For this purpose, first, the emergence of archetypes in architecture was described, then an architectural archetype was selected and the work of a contemporary designer was compared with the selected archetype.

Using the mythical criticism method, it was found that the spatial system of the Yokohama port terminal, which an Iranian architect has been involved in its designing, was consistent with the spatial system of the Iranian garden archetype.

One of the major challenges in the field of architec ture is the reading and critiquing individual works re gardless of relevant textual layers that may affect the formation of the work. The main concern of the pre sent research is the great importance of criticism to the architectural community. Unfortunately however, the lack of systematic readings of architectural works has led to the absence of reliable criticisms that may help improve the quality of the works. As one of the most widely used concepts in contemporary literary criticism, intertextuality refers to the idea that a text is interconnected with earlier and later texts; there fore, every text should be read and appreciated in relation to other texts. As a concept, intertextuality is not exclusive to literary arts. It is also relevant to other artistic subjects including cinema, painting, mu sic, architecture, photography and, in general, all forms of cultural or artistic production. Intertextuality has grown out of the field of literary criticism and has been put to use in reading and critiquing other artistic texts as well. In this study, we intend to read architec tural works through an application of the theory of in tertextuality to the field of architectural criticism. By relying on an intertextual reading, this study ad dresses the relations between peritext and intertext elements and their impact on the formation of the overall meaning of architectural works. We have for mulated the Intertextuality Reading Model for the in tertextual reading of architecture based on the theory of intertextuality and have evaluated the model by applying it to our reading of Al-Qadir Mosque as a case study. The question that we, herein, seek to an swer is: How do we read architectural works based on the Intertextuality Reading Model? This study uses a qualitative design. Data collection was conducted via descriptive procedures and content analysis was car ried out via discursive procedures, i.e., logical argu ments. The study focuses on the theory of intertextu ality and addresses the different layers of the text, i.e., the architecture work, in light of syntagmatic and paradigmatic axes, diachronic and synchronic ap proaches, codification and implications. Our findings indicate that the use of an intertextual method pre vents superficial readings of architectural works, fa cilitates the understanding of hidden layers of mean ing and activates broader paradigms of interpretation. The different semantic aspects of an architectural work in intertextual relations can be uncovered by a plurality of different layers at the vertical (“dia chronic”) axis of its semiotic system and the horizon tal (“synchronic”) axis of its codification system.

learning architecture. It seems that the mismatch with the needs and current problems of society, forgetting the values of Iranian culture and the lack of basic and applied research, has led architectural education in Iran to a developing trend towards the West lifestyles, norms and Culture. One of the main intention to western education model in architecture is that the modern learning and formal education of architecture in Iran born by the importing of French model (Ecole des Beaux-Arts in Paris and French Royal Academy), German model (Poly technical education, engineering learning and training Schools), English model (practical and experimental learning) and American model (combinational learning). Architectural education in Iran starting by applying French model; and after Islamic Republic revolution in 1979, if some schools and agents attempt to defining local model (Iranian and Islamic pattern) in architectural education but their models cannot developed through different architectural schools. In the last decades development of Anglo- American architectural education models impress all parties in it.  Even though there are many researches concentrate on architectural education in contemporary Iran, but almost none of them focus on Zeitgeist. Interdisciplinary and its synchronicity with global approaches and the needs of society and social context, to recover and making efficient models are the aim of this study  in both, which is suitable for Iran’s situation and Context. This study emphasizes the impact of the architectural education process in relation to the zeitgeist- which is derived from Hegelian literature and philosophy- and explaining its triple components which is dialectic, critical thinking, and updating in education. Finally, the educational programs evaluation has been done by testing these components.

The present study is a cross-sectional and applied research. The research methodology was based on qualitative method and content analysis. In research process, the contents of the curriculum of the nine top universities -which is selected in valid ranking and geographical and continental distribution- in the world were analyzed by focusing on Zeitgeist’s concept. Statistical descriptive analysis is the approach to findings and its conclusion.

This study showed that Delft University in two fields of history and theory courses with thirty five percent  and in the field of technology with approximately thirty two percent, and the Massachusetts University with approximately  fifty two percent share in the design department are leading. In interdisciplinary courses, California universities are distinguished from others by about thirty five of the courses. Interestingly, Iran's curriculum has not achieved a significant share in the competition among the world's universities.

This research showed that current problems, historical and cultural transcendence is equal to Zeitgeist, which is derived from our society. Although there are a variety of educational models and applied in specific and appropriate educating cases, in all of them some features have a key role to approach the Zeitgeist including changeability, program and design electivity, flexibility in learning curriculum, critical thinking, problem redefining in teaching approaches, and situations simulation.  

This study reviews the relationships between the elements of the inner and outer text, and their impact on the overall meaning of the architectural work based on the intertextual reading. In this research, after an explanation of the basics of the theory of intertextuality as a tool of criticism, the model of intertextual criticism of architecture has developed. A model has been tested for Valiasr Mosque reading.

This research seeks to answer the question: How does the application of the intertextual criticism model provide a context for reading the architecture?In this research, the main hypothesis is that using intertextual relationships in syntagmatic and paradigmatic axes and diachronic and synchronic analysis, will lead to the recognition of deeper text layers and decryption. It seems that using of intertextual reading has prevented superficial reading of architectural works and it investigates the work of architecture as part of a series of works which have been formed over time and its application can lead to better understanding the hidden layers of meaning and it causes more precise interpretation of work in broader paradigms.

This research is qualitative research. In the data-gathering step, the descriptive method been used to describe the subject matter and in the analytical phase of the data used logical reasoning method. This research is based on the theory of intertextuality and has studied the text (here the work of architecture) in various layers.

The findings of this research indicate that the text of the architecture formed in several semantic layers from the phenotextto, genotext, and the types of implications are effective in the formation of its layers, by applying the intertextual criticism model the layers of the layout retrieved from the layers of architecture to extra-architectural.

Designing seems to be based on acceptance of minimal programs and proportion of functional levels or as the common discourse calls it »physical plan«, serves as the focal point of its for-mation, and the quantitative proportion of level to individual plays an important role in its de-sign and evaluation. Meanwhile, interpretations of the quality of the space, experience and event concerning the conventional and standard quantities can not be seen, something which seems to be a result of reductive and simplistic outlooks in line with modernist currents and incomplete education of the concepts of this current and dissemination of the tendency toward an international style. The present article intends to develop a post-modern framework for an outlook toward func-tion in designing and show that a transition has occurred from functionalism to programming which accepts a fuzzy spectrum of necessity, freedom and pleasure. In this situation the de-signer comes across a problem whereby he (she) has to prepare a lot of options and make some decisions in order to meet a variety range of the needs of his (her) audience, however, the de-signer’s technical know-how is not often sufficient for analyzing the reality and future predic-tion and eventually organization of the human systems. In order to change the program into the design, the designer has to make some orientation and options in programming. The de-signer is faced with the variables of the problem, their significance as well as acceptance of the changing situation and growing variables on one hand, and human’s behavior, quality and life style on the other. This complication aggravates when the audience or user of the space plays an active role against the author of the space or the architect, hence a confrontation and chal-lenge take place. Explanation of the term »environmental design« which contains the behav-ior- space system refers to the inseparable aspects of biological and non-biological human sys-tems. The objective is to prepare the ground for the synergy of these two systems toward a proper system of correlated variables in the designed space. Taking advantage of indirect measurement and using the model of ideal type of design, this article tries to study the situation of in between space syntax so that users would take more freedom and pleasure in the space through categorization, registration and mapping of the proportion of optional and necessary activities in the spaces of National Library and Library of the University of Tehran. According to the studies and analysis of the data extracted from ob-servations, the results of the research reveal that the proposed mechanism of designing the in between spaces at libraries toward rendering a better function includes: 1. Prediction of the open in between spaces at a place with most adjacency to other functions, since the more con-tradictory or indifferent the relations between functions are, the more effective they would be. 2. Design of the closed in between space so that it enjoys a high visibility along with a high spatial scale. 3. Provision of subsidiary function to in between spaces.

The process of manufacturing production is not too hard to understand, and is not so easy that everyone know how it begins and where it should be finished. But the obvious matter is the production which is obtained and its name in architecture is objectification to subjective ideas and manufacturing the tangible elements. In fact, the history of transforming idea to production is related to the caveman and it has thousands years antiquity. By appearance of computer, the human can make it help them. Nowadays, especially in recent decades, the computer-aided experience makes their eyes open in new areas. Although some of the computing approaches are not positive and good for them, but we focus on the positive parts of this fact. Now we must answer to some questions: would computer sit on the architectural position? And doesn't design process need to architect as a producer? Also there is some another question that where is the front ring between the traditional and modern architecture? And does computer-aided approach play the same role as a linker factor? Finally, it is necessary to say that the nature of this research is explanatory; also, considering the holistic subject, the main approach is operative.

The relationship between Architecrure and previous context is one of the most important issues of architecture and city designing. This discussion from the thoughts of ancient ages about buildings’ placement rooted from placement of buildings related to the adjacent ones. In the valued issues, through the review of history, culture and society, a valuableand suitable architectural design of aimed area according to the cultural and historical backgrounds could be done. In this research, and at the first part, we aim to define the context and design approaches like contextualism, regionalism and typology that had the dirrect reaction with design bed. At the second part, via choosing of buildings from Mashgh Square of Tehran, which have the important governmental buildings from previous times of Tehran, especially First Pahlavi era, we try to recognize architects’ approach towards context and the extend of influences of past on these buliding at that time. The diffrences between first Pahlavi era and western contemporary architects (international style) about the context is the question of this research. In this research, the methodology is the combination of Analytical-Adaptive method and study on case studies. At the first part, basic and first class refrences, and historical and second-class documents are analyzed. At the second part, the research would be done on case precedents, through the field study, photography and collecting data. Results reveal that attitude of arcitects of first pahlavi era towards context, is different with contemporary western architects. Although reviewed buildings had new approaches, but still footprints from Iranian past architecture could be traced in decoration or even seen at some forms of these buildings.

Event between architecture and earlier context is one of the most important issues in the field of architecture and urban planning. The issue originate from the ancient thinking about placement of building in vicinity of the adjacent ones. Concerning the valuable concepts, one may achieve worthwhile architecture tailored to its cultural and historic as context, through the reading of historical, cultural and social text. In this study, we are going to define the context and explain planning methods such as conceptualism and regionalism, which are direct response to planning background. In next section valuable buildings of different eras (from the first Pahlavi to modern times) have been selected, in order to recognize the time architects approaches to the context. In addition, the earlier context impressibility would be investigated in these buildings. The main problem of the study is the proof of the distinction between regionalism and conceptualism approaches. Research method is proportional to the hypotheses, i.e. analytical-comparative method. Data collection method and the instrument for achieving theoretical bases of the study including data related to backgrounds and approaches such as regionalism and conceptualism was library studies. Then analytical and comparative studies were applied to analyze the case studies, along with presence in the environment, field studies and photography. The results of the study reveal that regionalism and conceptualism planning methods are distinctive. That is conceptualism acts on smaller scale relative to the site and its neighborhood and regionalism acts in larger scale, at national and regional levels.

Nowadays, the category of creativity and creativity is one of the basic issues in architecture that the study of formation and how it occurs. Creativity and innovation are also the necessities of the dynamics of any art, including architecture, whose significance is expressed in the process of its formation and its development. In this article, the theme of creation in the contemporary Iranian architecture, especially during the post-revolution period and the context of its occurrence is discussed. The research method is "descriptive-analytical" which is used for data collection based on library and documentary studies and analysis of Iranian architectural works. In the end, the components and elements of creativity are mentioned in Iranian architecture and some points have been mentioned in this regard.

In early twentieth century, political leaders of Turkey and Iran who noticed the backwardness of their country comparing to Western nations sought the solution in fast modernization through a western method. Development of construction methods, emerging functions and vast projects of construction in this era paved the way for the participation of Western experts and consultants of these countries. Presence of these architectures in Pahlavi era in Iran, contemporary with the years of the first Turkish republic until the 1980 Turkish coup d’état, caused modern period architecture in these countries to take distance from their historical background. This research attempts to explore the role of foreign architects and urban planners in the development of Iran’s and Turkey’s architecture, and the way they influence Iran’s and Turkey’s modern architecture through conducting a comparative study. Identifying the role of the architects in architectural developments and the way they are influenced by local and traditional architecture in Iran and Turkey have been questioned. Therefore, the research was conducted in two stages; first, through conducting a documentary study into modern architecture of Iran and Turkey, and then through performing a comparison between Iran and Turkey. The results of the research divided the role of foreign architects and city developers in the modern architectural developments of Iran and Turkey from 1920s to 1980s into two overall epochs, dealing with the comparison of the role of the architects in the two overall periods. According to the results of this study, the role of foreign architects and urbanists, whether in architectural education or in professional activities, was the same, while in the second period such similarity was not observed as it was influenced by domestic factors. Also the foreign architects in both countries have been influenced by the countries’ vernacular architecture.