فهرست مطالب کوروش مومنی

In this study the relationship between learning styles and academic performance of the students in theoretical courses and architectural design workshop is addressed based on one of the existing theories in learning styles that belongs to "Felder-Silverman". Theoretical basis of Felder-Silverman theory is based on the duality structure (lateralization) of brain processing which composed of left and right hemispheres. They used a five dimensional dichotomies including the perception (Sensory-Intuition), processing (Active-Reflective), input (Verbal-Visual) organizing (Inductive-Deductive) and understanding or apperception (Sequential-Wholistic) dimensions. In order to study the relationship between the academic performance and learning styles two types of tests were selected that the first one classified students in learning styles based on "Felder - Solomon" questionnaire and the second one analyzed and integrated academic performance of the students in architectural design workshop and theoretical courses. The results of this study showed that the number of 4th year students compared to 1st year students in intuitive, visual and wholistic styles was significantly higher. The assessment of student performance indicated that the first year students had the best performance in introduction to architectural design I course with reflective and visual styles and the 4th year students had the best performance in architectural design IV with wholistic, visual and reflective styles. Also the first year students had the best performance in construction materials (which is a theoretical course using written material) with verbal and reflective styles and the final year students had the best performance in Introduction to Islamic architecture II (presented descriptively using PowerPoint) with visual and sensory styles.

Energy Efficiency in bionic Buildings and Green Architecture bionic are important tools to ensure coordination between buildings and the natural environment, maintaining ecological balance and achieving sustainable development in the construction of buildings. According to a review of bionic technologies for the functions, structures and construction materials, the present study analyzes applications and forms of energy efficiency in the bionic buildings and green architecture of For instance, by exploiting the nature of nature in buildings, based on the ideal natural ventilation system, which exists in the termites " s den, innovations in architecture have been made. In addition, the passive construction technology using solar energy sources can not only improve the quality of the thermal environment within the building, but also reduces energy consumption in the building. Inspired by the mechanical properties, structural relations and the function of natural materials and its use in the structure of the building or its shape design, large structures such as cables and structures with thin shells, resembling spider webs and eggs, are designed. In short, the development of green architecture and energy efficiency in the bionic buildings should follow the laws of nature and respect them. The study of mechanisms used in biological systems is necessary, coupled with new building technologies, to support innovation in building and to develop rapid development in building green buildings and energy efficiency in buildings.

One of the methods to create the idea in the architectural design is the principles and patterns in the natural phenomena. The current study consists of two sections. The first section introduces and recognizes the analogy of nature and its different types. Then, this section studies, classifies, and analyzes the opinions using the analytical-descriptive methods. In the second section, performances of two groups of undergraduate and graduate students of architecture, in architecture and Urbanism Faculty of the Jundi-Shapour University of Technology, Dezfoul, on how to deal with nature and analogy method was evaluated as freehand sketching using experimental study. The sketches were classified based on the modeling and analogy method into three classes of formal, structural, and conceptual analogies, which have conceptual, structural, and formal specifications based on the patterns of nature. The results show that undergraduate students selected the patterns based on their form, function, symbolism, aesthetics, feelings, design process, nature, climate, and structure. Also, graduate students selected the patterns based on the function, form, symbolism, feelings, climate, and structure. The form of nature was applied more among the undergraduate students, while the function of nature was utilized more among the graduate students.

Architecture during the Qajar era witnessed great changes because of its relations with other countries. The architecture of mosques located in the city of Shiraz were no exception. Moshir al-Molk and Nasir al-Molk mosques are buildings from the Qajar period which due to their location in these developments and the architectural background of Shiraz, with their unique decorative features in tile and architectural innovations have been of great interest to scholars. Therefore, the purpose of this research is to review the historical process of these two buildings, to examine the innovations that have been made in the elements that make up the mosques and to evaluate their religious and educational activities. In other words, the most important question of this research is: what was the actual performance of Moshir al-Molk and Nasir al-Molk mosques? and what are the architectural features of these two mosques that have not been investigated to a great extent? In the present study, in order to answer the research questions and objectives, field studies and mixed-method research including case-study and historical-interpretation for introducing, categorizing and finding comparative relationships have been used. The results of this research show that the Nasir al-Molk and Moshir al-Molk mosques have a consistent relationship in their architectural elements including the yard, fountain, and facade. On the other hand, these two mosques have a religious-educational function and in comparison to other historical buildings have witnessed great changes in their construction. This is mainly evident in the constructions’ elements such as fluorescent, entrance, ivan, clock tower, and the ornamentations in the facade.

The use of numbers in the past architecture has a special place, so that it is used in most holy buildings. The culture is full of the wonders that it expresses in nation’s architecture, in a harmonious way. The numbers of the figures, whether statically and aesthetically, are clearly evident in historical places. In a way that is quite obvious, the numbers are not sometimes visible; they use as Symbols and help architects in terms of building stability. In the meantime, number four was one of the most stable numbers in the stationary direction of the buildings. Regarding to the people’s beliefs, they used it as a holy number especially in religious places. The number four in ancient times has been asymbolic number. For example, it is believed that there are four rivers in heaven that have the shape of a cross, or there are four parts of the earth, and the like. The fourth of the four distances, even centuries ahead of history, is to show what is solid, tangible and tangible. Has been used and is, in fact, a heavenly figure. It has also been used extensively in religious architecture. The designs drawn from Paradise are square- (rectangular) shaped and have four doors. In this paper, we try to investigate the role of this number in the architecture of Atashkade by examining the historical significance of “Four” aesthetics and static. To do this, using a descriptive-analytical method, the method of reviewing library texts and field methodology has been used to evaluate the formation of fire cells based on the number four. For this purpose, the features in the general layout of the remained Atashkades in Iran have been analyzed in terms of the application of the Four. Finally, seven sacred and important Atashkades have been investigated in terms of physical characteristics. The spatial structure of Atashkade and places that the ancient Iranians created in their ancient times were organized and arranged regarding to their forms and symbols. The space that was built by man or the architectural space of Atashkade in all cases made a turning point, the centrality of fire that lay between the heaven and earth. Also, with
a square plan, this feature was inspired by the viewer, from the landmark to the dome Elderly is in evolution. The four-pillars were kept with four pillars, which protected the deep thoughts and, with a beautiful statement, referred to the angels holding the earth and the keepers of the main directions. We also see the rectangularity of the roof and the
dome-shaped roofs of the fireworks with four pillars as well as the main turning point of the architectural space of the fire. The findings show that the architectural design of Atashkade in terms of planar characteristics and their formation is fully in line with the principle of applying the number four, so that we explore in all of these buildings, the existence of four pillars in the planar planks, as well as the placement of four openings in four directions. Also, the height of the building and the vertical axis, the observance of the four levels in the representation and the total volume are considered as the index of the figure and the role of this number in the harmonization of the overall structure of these buildings is quite evident. In all Atashkades, having a quadrilateral plan was essential. We do not see opposition in any of the fireworks. Various spaces, such as the dome, the holy fire, the Ganjkhane, and other spaces, are all shaped by a four-pillar plan. In the vertical direction, they also show the four appearances. In the beginning, we have a wide range of land as a Atashkade site. Then the columns and the main body of the fire temple after that place the roof and then a dome-shaped roof, which is a symbol of the sky. In this way, the thoughtful form of the sanctity of number four has also been shown in vertical direction. The placing of the dome and roof on the four columns in the Atashkade is a symbol of the four preserving elements of the earth. Also, in the Atashkades used in the decorations, the number four has been used so that the base of Atashkades located in the center of it, is in the form of four-ears, and in their view are also four stages as elements a Atashkades are classified.

Transformations in the present century cause developments and changes between the manifestations of life and culture in Iranian society. The traditional architecture and its trends were underestimated and on the other hand due to the occurrence rate of these transformations, there is no opportunity for adaption of these changes with culture of society. While developments in European countries occurred step by step and to a large extent the changes were easily replaced. For the revival of our original culture and architecture, we need to recognize its major factors so it can continue to exist. Architecture is not just a collection of styles and forms, and it doesnt completely specify its own social and economic conditions, but it comes as a set of them. Architecture as a communication system interacts with culture and for receiving its inner message, the cultural context in which that architecture is formed should be recognized and studied. Otherwise, its messages cannot be well perceived.
Tehran Museum of Contemporary Art is an outcome of the combination of concepts related to origins and principles of a modern approach to architecture from one side and the most inner layers of an Iranian architecture thinking as well. This research aims at studying and analyzing Tehran Museum of Contemporary Art in terms of the relation between culture and architecture. The research method is descriptive-analytical and by using different websites, related books and a field research method the data has been collected. At the end by applying intuitive and inductive reasoning, a general conclusion has been inferred. Analysis indicate that some original concepts of Iran's culture and its traditional architecture had impacts on the design of Tehran Museum of Contemporary Art both directly and indirectly and these ideas were correlated in a way in the concepts of the building's construction.

Privacy is known as one of the most basic features of Islamic architecture. Home is the most private places for the person so it is essential to provide confidentiality and privacy in it. Islam, Quran Verses and Hadiths of Prophet Mohammad and imams have focused on creating privacy in the houses. In this way, the privacy has been the basic principle on traditional architectures of Iran especially in housing.

Creating privacy is necessary point for people and providing this principle in the home is more important than the other places. Privacy In traditional architecture of Iran has created in both audio and visual kind. This principle has been used in traditional architecture of Iran before Islam but in Islamic architecture has been emphasized it more than before. Quran verses and Hadiths of imams and Prophet Mohammad are the most important references of Islam. So this article has reviewed these references to find the ways of creating privacy in the house.

This article is tried to define and understand these objects: the meaning of privacy, reviewing the factors that create privacy in Zinatol Mulk historical house as a distinguished building in Shiraz city, recognizing the confidentiality principle in organizing spaces of this house and introduce the special strategies that used in making privacy. So the privacy principle, Quran verse and Islamic hadiths are reviewed at the first part of the article. This part is used by library resources, articles and internet sites. After that, checking the case study is done with using interview and direct observation from the Zinatol Mulk building. So at first part of article a brief introduction of Zinatol Mulk house has been said then the elements that create privacy in Zinatol Mulk house are reviewed in both audio and visual type.

By studying the Quran verses and hadiths can be said that Islam insists on creating privacy especially at home into both audio and visual kind. So providing the privacy is necessary in Islamic architecture. Although this principle was used in Iranian buildings about 6000 years ago in the courtyard houses but the most use is in Islamic architecture. Therefore the successful case study in traditional architecture of Iran has been reviewed to understand the privacy principle. Zinatol Mulk house in Shiraz city was selected for evaluation. Zinatol Mulk house was chosen because of two reasons, first because Shiraz residential architecture is unique and it has productive and rich houses in its traditional architecture and second because this house is one of the most distinguished historical houses in Shiraz. The results also show the special features of confidentiality in this house. The factors that make visual and audio privacy in this house are divided into 4 main methods. These methods are location, proportions, introversion and the hierarchy. Each of these methods have special role in creating privacy in this house.

Audio and visual privacy will be appeared as the introversion, hierarchy, location and proportions principles in the framework of the building. Each of this principles use special ways to provide the confidentiality. The privacy has important role in in Zinatol Mulk house design. So the architecture has emphasized on making privacy in this house. Therefore the hierarchy is much stronger and has more steps than the other houses.

By Checking the Quran Verses and Islamic hadiths that related to privacy and Compliance them with the architectural of Zinatol Mulk house (a distinguished case study in Shiraz city), it obtain that creating confidentiality in the main spaces of this building are as below:
Entry spaces in this House:
The privacy in the entry space has been created by these factors: existence of high walls around the buildings, losing the height of the corridor than the vestibule, the lack of windows in the exterior elevation, retreat the entrance to the alley, increasing the thickness of the around walls and entrance space.

Privacy in the yard has been provided by these elements: using high walls around the building and in second floor to block the neighbor’s view on the yard, separation of two inside and outside yards and communicate them through an underground connection between Narangestan Qavam and Zinatol Mulk buildings, creating a separate yard for the toilet.

The factors that make privacy in the rooms are: locating the entrance perpendicular to the main axis of the yard, using larger and more windows in the gusts room (Shah Neshin) and smaller windows in living room (3 doors room and 5 doors room), recessing the windows of 3 doors room and 5 doors room, locating the 3 doors rooms apart from the public spaces of Home, providing the entrance spaces and patio in front of the rooms, communication between the rooms by the doors, increasing the thickness of walls in more private rooms, lack of openness in the closet room, creating the space hierarchy in the entrance of all the rooms.