elham parvizi

Although this collection was made by Sheikh Safi al-Din Ardabili in different periods; But it is stated in historical books that the design of this collection in the dream was inspired by Sadr al-Din Musa, the sheikh's son, to the architect of the building. According to the prevailing beliefs in the patriarchal and Safavid historical period, this collection can be considered as an unconscious manifestation of Sufism. On the other hand, in Jung Kohan analytical psychology, the model of "individuality process" has been proposed, which is related to spiritual questions such as the meaning of life and the purpose of existence. This archetype can be compared with mystical behavior in the school of Islam. The purpose of this article is to answer the question whether by examining the archetype of individuality, it is possible to understand the concept and how to find its objectivity in this collection? In this article, the historical perception approach has been used in the method of historical interpretation. And we will try to examine the quality and relationship between these signs and the archetypes in this field. As a result, the physical structure of this complex is based on the levels of mysticism as well as the four stages of the archetype of individuality, and at the end of this set, the physical signs indicate the emergence of the complete archetype of individuality. It can be said that as with the conscious and unconscious adaptation (circle and cycle), Mandela's physical sign is formed. In architecture, the circle is the symbol of the original unity and the sky, and in the center of everything, they come together in coexistence. The number seven, which is the basis of mysticism, is also the organizer of the architectural movement spaces of this complex.

One of the most important challenges facing education is to develop students' health and create a sense of attachment to the educational environment in them, which will lead to an increase in the quality of education and training. Architecture as a container of human behavior has a great impact on this matter. The organs of the building and the relationships that govern them are effective in the process of understanding, recognizing and then the way people respond to the environment. According to studies of mental health and environmental psychology, students quickly feel emotionally uncomfortable when dealing with certain educational spaces and feel homesick. People enter the attachment process faster with places in harmony with subconscious schemas. In this article, emphasizing the need for attachment to place in school design, this question is raised, recognizing cultural schemas in the collective subconscious of students and orienting them to design school architecture can increase students' mental health and promote a sense of attachment to educational places? The research method in this research is qualitative and analytical-descriptive. At first, the materials were collected in the form of library study, collect documents in the field of psychology and unconscious cognition and the stages of perception and cognition by it in the human mind, and then analyzed analytically. As a result, examining how students perceive space is effective in creating qualities such as "familiarity" and "identity." In this article, by looking at the category of the unconscious in the field of mental health and architecture and analyzing the collective unconscious schemas, it emphasizes the mechanism of its effect on how students recognize and interpret semantics. Collective help can help the cognition stage lead to the promotion of attachment to the place properly.

In this article, we have studied the works of Sohrab Sepehri, Iranian poet and the Tadao Ando, Japanese architect of to show the joint poetic of form and space in their works. In this research, after extracting poetic components in the works of these two artists, it was found that their works, like haiku poems, are influenced by Zen, which is an image of reality that is formed after a real connection with space. The theoretical basis of this research is Heidegger's idea of openness to truth. Heidegger believes that the truth of "things" is not revealed by words. The things itself must clarify the meaning or truth. Art helps to clarify the truth of things through beauty. When we connect to the space of the work through the beauty path of the work, openness to the truth occurs. The poetic space of Sepehri and Ando's works makes communication possible through the beauty.

Global events, such as war or disease, have had a profound effect on the individual and social lives of human beings. These effects will change the way of architecture and urban planning. At present, the outbreak of Covid-19 has changed people's lifestyles, so the rules and patterns of housing design must change. Especially during the quarantine period, when most people spend time at home, it has become increasingly important to pay attention to the design of housing in accordance with health conditions and lifestyle. The purpose of this study is to develop functional requirements for housing design in accordance with lifestyle changes during the world of diseases. For this purpose, a descriptive study has been used, during which health requirements have been extracted through interviews with physicians and health professionals, as well as lifestyle changes during the illness, through a questionnaire, and after qualitative analysis and prioritization, using a qualitative method. Turned into visual patterns. As a result, changes caused by global events such as illness can be examined in terms of both professional requirements and people's lifestyles. Changes based on needs and lifestyle usually occur in the form of change of use and relocation of spaces and more in the main living space. These new needs and lifestyle changes due to relocating previous behaviors including leisure, sports, work, shopping, etc. into the home. Also, the main demand of the people is to increase the flexibility of spaces instead of increasing the number of spaces.

The phenomenon of Unattended children and the anomalies associated with it is a problem that metropolises and large cities of contemporary societies face. Appropriate living space for these children according to the categories of the effect of space on the psyche and development of the child can reduce the problems caused by homelessness and abuse of these children and be very effective in strengthening the appropriate identity and sense of belonging to the living space in them. In this study, it was necessary to examine the components of designing spaces for orphans, taking in to account their real needs in space. The present study is applied in terms of purpose, qualitative in terms of data and data based on the nature of the study. Gather information through interviews, drawings and essays by children. The data were extracted by content analysis and re-coding, then explaining the categories and selective coding, and after interviewing the design professors, the components were extracted to design the centers. In this article, based on Piaget's approach, homeless children between the ages of 7-11 have been selected because they do not have a rational perception of their surroundings and can be used as a basis. Finally, in four components of body, meaning, equipment and program in the architectural space in this age group, the priorities of architectural design are explained.

Believing in the world of Mesal has always been relevant in the beliefs of the illuminationists (ishrāq). This world has proximity to the world of Barzakh in the viewpoints of Muslims as the layers of the spiritual unconscious. Therefore, it’s borne results in the ideology of philosopher’s line Mulla Sadra in the Safavid era. Since architecture has always been a language for the values of its time, especially the unconscious of the society, to find out how and if the world of Mesal is manifested in the Safavid architecture, this writing is studying this case in the architecture of this era. Using the descriptive-analytical method, the present study has studied the ornaments of Isfahan’s Imam Mosque to evaluate its conformity with the world of Mesal in the Muslims’ beliefs. The descriptive-analytical research method and information-gathering are through the library and observational sources. It’s concluded that the ornaments of Isfahan’s Imam Mosque could be the manifestation of the details of the Muslims’ beliefs and spiritual subconscious in the Safavid era in Iran, especially Isfahan, and the amount and manner of this matter in the of decorative patterns topic, the numbers used in them and then, the colors in the architectural ornament have been studied.

There is an increasing tendency towards innovation in the design of mosques. On the other hand, research shows a decrease in the "spiritual sense" of mosques built based on the modern approach compared to mosques with traditional models. Therefore, this paper compares the effect of racial unconscious archetypes of the spiritual space in comparison with the unconscious schemas formed by daily experiences in the spiritual sense of traditional mosques. The research is a qualitative case study. Data collection is in the form of a questionnaire, and the results are analyzed in SPSS and then studied and interpreted. The conclusion is that the degree of belonging to a place is directly related to the repetition of the lived experience of the place, but the criterion of "spiritual sense" of traditional mosques compared to modern mosques has nothing to do with the amount and repetition of "experience of place", and even for those who do not go to mosques for religious rituals traditional mosques have a higher priority in creating a sense of spirituality due to the use of architectural archetypes in the mind of Iranians (racial mental model).

Religious spaces have always had spiritual experiences in the form of the quality of the sense of place. Because the tendency to innovate in the design of spiritual spaces, especially mosques, has increased. On the other hand, the researches show the process of reducing the sense of place in these spaces. To provide a new look at how these spaces are designed and their impact on the sense of spiritual place of the urban landscape, this article deals with the relationship between spiritual and physical schemas formed in races, in the subconscious layer, and creating a sense of place in mosque architecture. The research method is qualitative-analytical and the method of collecting documentary materials is to study the effect of unconscious racial schemas in creating a sense of spiritual place of mosques and consequently in Islamic cities. Given that innovation in architectural design begins with the body and that subconscious body schemas can be effective in directing how the sense of place is formed. Attention to archetypes in design will have a great impact on creating a sense of urban landscape and constructive interaction with spiritual environments, especially mosques that can cause spiritual experience.

Historic contexts remind us of an era when cities were built based on the needs, goals, and preferences of their inhabitants. In other words, the mental world of both the builders and the inhabitants was closely interrelated. But by ignoring citizens' memories and interests and their mental needs, today's interventions with rapid developments within historic contexts have led to amnesia and the destruction of cities' identities. Hence, architecture as a major part of the urban fabric experiences disruption not only within the urban context but also through the collective memory of the inhabitants of the texture. Since identity is an important criterion of endogenous developments, in addition to clarifying the importance of collective memory in infill architecture design approach in historic contexts in the conducted analyses, this paper has sought to answer this question “Given the different approaches in terms of their innovation in infill architecture, how can one explain the architectural approach in infill spaces by referring to collective memory?” The research methodology is case study. By collecting data through library and digital resources, this paper concentrates on the process of architectural approach in historic contexts as well as identification of historic contexts. Then, through an interview with the older inhabitants of Imamzadeh Yahya neighborhood, their shared memories were identified. Then, the result was distributed as a questionnaire among the Imamzadeh Yahya locals. By analyzing the results through Spss software, the collective memory was identified within the historic context and the criteria for infill design were extracted. According to the results, the architecture in historic contexts depends on the land use, the proximity to valuable units, shared intangible events, etc. that can all be extracted from collective memory of texture. The obtained indices can be invoked in architectural design within historic contexts to enhance their physical identity.

Architecture is the art of constructing a space that is perceived and appreciated by human beings. The need for conventional and identifiable areas in architecture is one of the most important qualitative features of human life. According to studies of the sciences related to the psyche, the subconscious contains social and individual memories of past forms and forms. Therefore, in dealing with some spaces, one quickly feels familiar and close, and in others, a sense of home. In this paper, the question is whether looking at the process of forming mental schemas from space in the subconscious and how new data can be adapted to it can be profoundly familiar. And the identity of the paying area?  In this research, an interdisciplinary study of the subconscious is done in the field of psychology and architecture. Then the mechanism of its impact on the way of knowing architecture is examined. The research method is qualitative, which is first collected as library and documentary material in the field of psychology, and subconscious cognition and the stages of perception and cognition in the human mind, and then analyzed analytically, and then examines how space is understood by One is useful in creating qualities such as "this identity and identity." And the unconscious human being as the primary source of memories and influence on human behavior and choice needs more attention and consideration in the future design of architectural spaces.

Historical urban textures remind the period of time that cities were constructed based on the requirements, purposes and tastes of residents. On the other word, the viewpoint of builders and residents were close together. But nowadays, without attention to the memories and fixation of citizens, rapid growth in historical urban textures leads to destruction of memories and perishing the identity of cities. Therefore architecture as an important sector of urban fabric, is experiencing rupture not only in the urban texture but also in the residents’ authentic cerebration. In addition to illuminating the importance of the authentic cerebration for the approach of new architectural design in historical urban textures, this paper aims to answer this question: How can we explain the architectural approach in infill developments through extracting living qualities from the authentic cerebration, with regard to the diverse architectural approaches ranging from opposition to similarity.
The research method is qualitative with case study approach. Data collecting is firstly based on library and digital resources. The information regarding architectural approach in historical urban textures and the ways of identity formation for the considered urban textures were firstly studied.
Then the joint memories were identified through interviewing with the elder residents in the district of Imamzade Yahya- one of the three districts in Oodlajan. After distributing questionnaires among the residents, the data analysis was carried out by the means of SPSS software.
The results indicate a meaningful relationship between the authentic and modern cerebration approach to the new architecture (infill developments). Besides, considering the variety of the studied places, there are some results concerning the authentic cerebration in historical urban textures that are related to land uses, proximity to the valuable urban grains, joint intangible events, etc. which are the cases in this point and all are capable of being extracted from the authentic cerebration of the urban textures. So in order to improve physical identity, the results should be employed in architectural design of historical urban textures.

Today, technology manages all aspects of human life. This matter has gone as far that some philosophers believed that soon the human and the world would come to conquer the world. Therefore, different approaches to technology have been developed. Substantially, before the construction of Centre George Pompidou (1970-1977), the pivot role of technology in the architecture was not released to the public. However, Renzo Piano and Richard Raggers reminded to all the major development of the present century. The presence of technology in architectural drawing had gone so far that it included the reason and even the ultimate of drawings. Therefore, different majors have been made in the line of its improvement or against it. For example, “Biotech” was made in the line and for the improvement of “High-Tech” style putting nature as an instrument for displaying technology and protecting the nature, on the contrary styles as rural traditionalism, such as what accomplished by Hassan Fathi in Egypt, rejected modern technology. Although, the views of technology-generating or technology-importing countries in this regard is different, what is important is that in the present era considering damages to the human psyche and nature, the objective role of technology has been laid aside and what remains significant is high objectives such as meeting the man’s moral needs and attention to environment conservation which are fulfilled by having an instrumental look rather than an objective look to technology. Therefore, it is assumed that at the beginning of its entry into architecture, technology has been encountered with the people and architect’s fondness and its display has led to a type of vitality due to a sense of communities’ development, but after a while when its disadvantages have been identified along with its advantages, its usage has been reduced as needed. Therefore, seeking the process of technology realization in architecture this article deals with its review in facade, framework and the soul of architecture. Therefore, first the meaning of technology from the beginning to the present, strategies adopted against it and also how it was appeared in architecture have been explained, then by analyzing Pritzker architecture award, the creep of technology as an effect in facade and building construction has been studied. From the viewpoint of this approach, history can be divided into two eras, before and after the advent of technology. However, there are views that know the old inharmonic and simple tools as the first buds of the today’s high-risk technology, but “Rene Guenon” believes that the distinction between these eras of technology is based on the contrast which could be identified between two quality and quantity views dominating the old crafts and the modern industry. The advent of technology into architecture has been brought under consideration on four facets: The structure’s presence in the facade, the type of materials applied to the facade, the kind of building system used, and the degree of form’s signification in architecture (to be collated with the structure’s importance in facade: The buildings picked up for Pritscker prize have been studied longitudinally. In the study, as many as 126 buildings picked up for Pritscker prize are listed in tables and their diagram has been extracted from a separate section. The resulting diagram shows that the tendency to present technology into the world of architecture has been on the increase since the advent of TECHNE as well as its shinning presence in facade making, all at one and the same time being a sign of the degree of societies’ progression incrementally with time, having been yet even more expanded along with movements like Archigram in 1960 and “High-Tech” in the 70s not to mention building Gorge Pompidou in 1977 and the Shanghai Bank in 1981. Little by little, however, after the coming on of high-tech styles regarding technology as the finale of architecture, many opponents stood firm against it of whom the most prominent were environmentalists. Consequently, the high-tech architects joined the environmentalism movement to extend their own survival, bringing about the “Eco-tech” style. Finally, the trajectory of technology’s presence in the build-up of recent facade appears to the more showing itself off as contrasted with the time before the coming on of “High- Tech” despite the fact that it has not been followed by any growth: a proof that technology is now out with architecture and importance is attached to a number of other factors though technology continues to be an important tool for the purposes of bringing out architectural concepts: not that it is any longer deemed to be the goal, but its usage has colluded with some sort of advancement and refinement. The materials applied to facade in various buildings have been delved into as the first part of this section whose result is the materials categorization into six major classes.

Architecture of Safavid era in Isfahan has attracted the attention of many researchers and has motivated discovery of temperamental evidences. People like Steiren and Corbin have tried to interpretively decipher its codes. However، it seems that understanding the Safavid Era’s position in history is a necessity for understanding the architecture of that time. The atmosphere of the society was Shia-Iranian and all the philosophers believed in independent rational forms and “Plato-like ideas”. Wisdom of Islamic-Shia art in “Safavid era” was realized because of the tendencies to illumination، dreams، philosophy of singleness of mind and world of spirits and angles. The limbo world is between the”delivery” and the “temporal” world، possesses a special conscience place in “Shia’s Ideology. “Corbin” in his investigation of “Shia” states that the world of idea in “Shia “has is the origin of formation of a science called “mraya science” and it is the manifestation of a symbol which Corbin calls “the mirror”. Indeed، a “Shia” artist refers to the image of the heaven as the ultimate desire of a human beings and resorts to limbo as an interface between the Earthly world and the afterlife and by using the knowledge of heaven gained through the “Quranic” verses and “Hadayeth”، he reflects this image in his designs. Afterwards، he uses decoding geometry and images، which expresses his discovery and intuition in the world of ideas. So، the “world of idea” which based on the spiritual and “Platonic Idea”، has passed to the Safavid Era and manifested itself in the society. Thus، this paper seeks to prove the hypothesis that Safavid architects attempted to portray the “idea’s universe” in their masterpieces. To this end، they، first، attempted to express this ideology in depth، from Plato’s view to Molla Sadra’s and Shia’s beliefs. Then، it explores and expresses the scope of their effects on the structures of the Safavid Era by studying the decorations of the Imam Mosque of Isfahan. The first philosopher، in Iran، who has seriously elaborated on the Idea world، was Suhrawardi. His point of view، In addition to Khosravani wisdom، was influenced by the Greek philosophers، particularly Plato’s. After Suhrawardi، the Islamic philosophers in the Safavid Erasuch as Molla Sadra have expressed their opinion on this issue in more detail. Henry Corbin Believes that Shia’s teachings call for prophetic reception of Platonic wisdom. Prophet’s mission is to create convergence between earth and sky. But this convergence is figurative and is based on the Idea world. These opinions consistent with those of Sadra and Suhrawardi. In general، the principals of Idea World in Molla Sadra’s view، includes the following: Limbo is between the intellect and physical worlds. It draws form from the intellectual essence and gets matter from the physical essence. It is the intuition world. This world exists in the physical world both in the descending arc and the climbing arc. This paper explores how these beliefs are manifested in the architecture a decorations. Essentially، the religious art، especially in the Islamic mosques discussed in this article have one factor in common، their symbolic aspect. Inallof them، the world isashadow of the truth. Designs used in the decoration of mosques، is no exception. This motif is logical thinking of the Iranian artists. Through simple shapes، they have used a set of icons and symbols to express specific concepts. The mosque’s decoration is represented in four ways: Motifs flora، fauna (rare)، lines، and geometric designs Decorating Techniques which were been used are Stucco، brickwork and tiling. Tiling is seen more than the other techniques. Therefore، this paper mainly concentrates on the tile-work’s designs. Part ofthe tile-work is Arabesque (Eslimi). The tiles’ decoration is، sometimes، in line form. Right from its inception، this sacred art was a tool for religious expression، Hadith، different names of God and، most importantly، verses of Quran. Another important issue in tiling is that secret codes are embedded in the colors used. Turquoise and azureblueare the symbolic colors of the sky. In sayings of the Prophet Mohammad (PBUH) emeraldcoloris associated with the afterlife. Moreover، as it is believed by the Muslims، God created heaven white and white is the most popular of all colors before God. Finally، the Imam Mosque of Isfahan’s decoration indicates the following: a) Herbal designs a figurative motif of life tree given is seen in the holy Quran as a harbinger. The frequency of these motifs reveals the embodiment of the artist Msalyn that the Shia believes that the holy Quranis portrayed in the Bible. The frequency of these motifs reveals the artist purpose to embody the idea world in the Shia’s belief and the holy Quran. b) Numbers and colors used in، according to the verses and narrations، are attributed to the Heaven. c) Making earthly paradise was the common wisdom of the era’s dominant the oretical belief، because philosophy، creed and religion were united in this period. Finally، the Idea world in Shia’s belief is embodied in his doing. that is in climbing and descending in creation. So، it makes the terrestrial paradise through reference to the verses and had it has the sources. The idea world is an interface between this world and the heaven، the afterlife.

Architecture is an effective art to bringing in to view the public’s culture in every time of history. Society in that people experience the cultural space can development in it’s national identity. In this century national identity is very important for protect the nation’s frontiers.Architecture as a sign of a nation’s identity is effective. It indicates the people’s life style of each society. Environment and culture have countermeasure impression each other. One of important side of nation identity is culture identity. That architecture as an effective factore in culture is momentous. Nationalaschitecture is risen from national culture. In other side Iranian’s as a culture that is interrupted has been examined in this article. This article researches context moving to international architect and it’s role in admeasurements Iranian identity. In this way after perusing culture identity and Iranian culture’s role is to being globalization and architectural effect in society culture and needs to creating international architecture at the end present a viewpoint for vital international architecture the way of search is descriptive and the instrument of research of research is librarian method. In the other wise the question is why in the period that culture didn’t research we have Iranian culture but now we don’t have familiar space.