فهرست مطالب hassan zolfagharzadeh

Traditional Chinese architecture and gardening are a mirror of the display of culture and ritual that has shown themselves in a physical body. Ancient Chinese architecture and traditional gardening have always been one of the world's most valuable art styles. The conceptual components of traditional Chinese architecture can be seen not only in symbols and emblems, but also in components and elements, and even in spatial structures. The purpose of this research is to simultaneously observe the physical and conceptual aspects of traditional Chinese architecture and gardening and compile the structuring components of this style of design. Also, the sub-goals such as understanding the beliefs and matching the obtained information with the imperial buildings of Beijing city. The method of this research is of the type of interpretative systems, qualitative and based on the "logical reasoning method". The information of this research was collected based on library documents, field visits, and software analysis. In the review section of the research, obtaining detailed and comparative information about Chinese architecture and gardening, and measuring the effective components, and examining these components in the imperial buildings of Beijing, it has led to the detailed formulation of the structural components of traditional Chinese architecture and gardening. The components of traditional Chinese architecture and gardening were formed based on two physical and semantic axes. But these two forming axes interacted with each other and all the components were formed based on this interaction. Confucian, Taoist, and Buddhist beliefs are the basis of the formation of traditional Chinese architecture and garden thinking, which is clearly expressed in the communication structure of these collections. Traditional Chinese architecture and gardening is a type of architecture with the crystallization of physical-semantic and lasting values of ancient Chinese people's relationship with nature and values derived from Feng Shui, Taoism, and Buddhism. With the help of construction tools such as plants, water, stone, and building materials, it has displayed a special identity of the Chinese people in conceptual and semantic layers.

Language or linguistic system is one of the most fundamental principles in twentieth-century philosophical studies and postmodern philosophy. The twentieth-century scholars considered “language” as the basis of thought - not its tool. According to them, truth, i.e., objective reality and whatever it is, is formed in language. Thus, the revival of thought in the form of language has changed the issues of cultural criticism of postmodernism. The linguistic theory has simultaneously paid attention to meaning and symbolism in architecture. The way of conveying meaning in language and applying linguistic knowledge through linguistic similarities with architecture was studied through paradigms such as semiotics. The founders of semiotics, Ferdinand de Saussure (1857-1913) and Charles Sanders Peirce (1839-1914), considered language as a system of signs with structural (syntactic) and semantic aspects. Rhetorical devices are one of the tools used to form and recognize meaning. Most contemporary semiologists consider studying these techniques, or at least some of their features, in the realm of semiotics. The verbal language of postmodernism uses rhetorical devices to form meaning. Previous studies have not addressed the role of metonymy and its interaction with metaphor in the formation and expression of meaning in the language of postmodern architecture. Therefore, the research question is: “How do rhetorical devices influence the expression of meaning in language and architecture?” So, the present study aims “to study how rhetorical devices are formed and how they operate in forming and transferring meaning, as well as decoding and reproducing it in postmodern architecture.” This study is significant because in societies such as Iran, which are influenced by Western thoughts, knowing the opportunities and threats of applying these thoughts enhances architects’ and designers’ creativity and minimizes cultural damages caused by accepting such thought currents.

To answer the research question and reach the research goal, the semiotics of Saussure and Peirce, as well as Barthes’s mythology, were studied in linguistics, and the data obtained from them were compared with architecture. Then, the rhetorical devices of metonymy, metaphor, amphibology, and irony were defined in verbal language and semiotics. Their formation and functions were compared with postmodern architecture in two paradigmatic and syntagmatic axes. The analyses were performed using Charles Jencks’ (1939-2019) definition of postmodern architecture as well as his interpretation of the New State Gallery (Neue Staatsgalerie (1977-1983) in German) in Stuttgart, Germany. Then, the results were examined in several other buildings. So, the present study was qualitative-applied research. Data were collected by library study. Then, they were analyzed descriptively and comparatively using a semiotic approach and case studies.

According to Saussure’s linguistics, architecture is a language without the intrinsic and natural relationship between its signifier (body) and signified (meaning). What is perceived as the architectural meaning is the outcome of conventions between the architect and audiences. While, according to Pierce’s semiotics and the referral system of its signs, architecture is a language in which rhetorical devices, especially metaphor and its interaction with metonymy, play a crucial role in its “genesis” and “function.” Metaphor is formed on the paradigmatic axis and metonymy on the syntagmatic axis. The interaction of metaphor and metonymy also forms other rhetorical devices in architecture, such as irony and amphibology. The body of architecture changes and transforms with the formation of metaphor and its meaning with the metonymy formation. From this point of view, for some reasons, the architecture language, especially postmodern architecture, can be considered to have a metaphorical and rhetorical pattern. These reasons are:a) The referential system of this language,b) The proliferation, multiplicity, difference, and suspense of meaning follow this system in this language, andc) Changes in the architecture’s body and the meaning follow metaphor and metonymy and the interaction of the two.On the other hand, the combination of the Saussurean and Peircean models indicates that postmodern architecture has a movement toward a single meaning. However, the totality of this meaning is suspended in its language’s metaphorical and rhetorical system. Postmodern architecture reproduces and develops concepts such as pluralism, contradiction, pleasure, and complexity through its postmodern signs and rhetorical devices. In contrast, comparing its features with the concept of “myth” defined by Barthes showed that postmodern architecture uses the architectural elements of the prior contexts and impoverishes their meanings without suppressing them by making fundamental changes in their layers and codes. Then, using rhetorical devices, combining the explicit and implicit meanings of the elements and “making them its own,” it imposes itself on the cultures as the ideology while shaping the facts.

Just as architecture can develop, multiply and enrich linguistic symbols, meanings and concepts, language also has the power to encode or “give meaning” to architectural signs. Thus, understanding the function of rhetorical devices, especially the metonymy and metaphor interaction, makes it possible to decode and reproduce the meaning of any complex rhetorical architecture through semiotic analysis. In addition, using these devices to express thought in the architectural design makes the semantic richness of the resulting architecture possible.

The art of music and architecture are one of the most visible manifestations of culture and ethnicity in every historical period, and music has historically played a valuable role in softening human perception and spirits; thus, can play a decisive role in health life for a long time.

Non-pharmacological therapies, have the potential to supplement medical treatment alternatives to aid recovery and well-being in health care. Music therapy is a relatively new discipline of musicology that has lately been able to assist individuals in the treatment of ailments that are inextricably linked to architecture. Is it possible for music and architecture, which have an unbreakable link with the past, to retain this bond and build a relationship of abuse and violation with the science of psychology and counselling?

This essay was written in a combined-analytical (comparative, descriptive, and analytical) style, using data collected via documentary, library, and field research approaches. The findings of this study reveal that music and architecture may have a similar effect on the human psyche, and the science of music therapy has been able to capitalize on these similarities in medicine.

The current article first introduces the commonalities of music and architecture and expresses the importance of these two arts' commonalities, after which it will be addressed how these commonalities in an ancient ritual called Chamri, which is held in Ilam province.

As social means in the cultural and historical context, architecture and media are heavily involved in the daily lives of human beings. Humans can achieve a good understanding of their relationship with the architecture of their immediate surroundings. By observing the environment, human beings can receive clues and signs to organize and formulate the whole environment with their information and memories. Thus, they can communicate with the environment in which they live and exchange information with their surroundings as an interface. Although architecture seems to be a practical field of study, it also acts similar to a means of mass communication. The intermediating role of architecture raises the fundamental question of whether architecture can be considered a media based on its different attitudes and functions. The significance of studying this issue is that both architecture and media are among the factors that encompass various aspects of human life. If architecture is considered a type of media, its effects on human life, as well as its various policies in dealing with cultural, moral, and other aspects must be considered.

The present study is qualitative research that, using a systematic and holistic approach, analyzes, combines, and adapts the two architectural and media systems. Semiotic approaches have also been employed to analyze the relationship between body, content, and meaning of architecture and human perception and cognition. Also, in order to study the epistemology and ontology of the two systems, i.e., architecture and media, both were comparatively matched with one another. Lastly, the model of similarity between architecture and media and their common points have been obtained by a comparative analysis. For data collection, documentary sources have been employed.

The first step in this paper is to examine the definitions of architecture and media from the lexicography perspective and the views of theorists and architects. The results of this step and the study of the role and function of media suggest that the features and definitions of the media can be examined from two perspectives. In the original function, the media is considered as a text and a means of communicating with the audience and a system of symbols studied under semiotics. As for the second function, the media is considered a means of mass communication for human beings. It involves features that, if considered for architecture as well, can change architecture to a media with similar characteristics and functions. Therefore, in the second step, architecture was considered a text that can be read and understood better through semiotics and emphasized the signification process. Hence, by summarizing the views of theorists and semioticians, the architectural works are cognized and understood in three stages of sensory, intellectual, and semantic aspects, in which the sensory layer depends on recognizing body and form, its description, and the examining of its functional and syntactic aspects. This, in turn, leads to the identification of artistic themes through sensory aesthetics, and the rational factors form the connections between artistic themes with ideas and concepts in a logical and conventional way via the method of structuralist semiotics. Through their symbolic, schematic, iconic, or compositional implications, semantic factor lead to the understanding and interpretation of the notion of architecture based on the basic tendencies of the human mind, including psychology or individual, social or universal worldview, as well as intellectual, cultural, religious, ideological, and philosophical foundations. In the next step, in order to examine the role of architecture and media as means of mass communication, three Toffler media courses were adapted to three periods of pre-modern, modern, and postmodern in architectural courses. According to the results of this section, architecture and media have had common features in each historical stage, and it is safe to say that architecture can influence various aspects of human life such as identity, values, culture, and recognition of reality through its unique features. In the final step, the components of media and architecture were comparatively matched. According to the findings of this section, a communication process can be thought including three main factors: the message sender, the message receiver, and the message; while other components are introduced as media elements, communication channels, encryption and decryption, disruptor or noise, feedback, texture, and context. Accordingly, the physical, formal, content, and semantic features of architectural work, themselves constituting the architectural structure, act as a medium that conveys the architectural message to the user through communication channels including the five senses and human perception. In this definition, the factors interfering with the delivery of the architectural message may be either physical (such as annoying noise, insufficient or blinding light) or inferential (such as the complexity or anonymity of the message content and meaning) that includes both physical and semantic aspects of the architecture. Moreover, important factors for comprehending the symbol and deciphering the architectural message and its formation include spatial and textural position, social, cultural, religious and philosophical context, and time-dependent conditions. Audience and user feedback towards the decoded message of architecture is also a behavioral clue and an emotional response that results from the perception and spatial experience of architectural space within the audience. Finally, a comparative model of the elements creating media relations and the relationship between the audience and the architectural work is proposed.

This study suggests that architecture can be considered a media by meeting the elements of the message sender and the audience, the message, encryption and decryption, communication channel, media factor, context, and disruptive factors. These elements assist humans in conveying the architectural message using physical, semantic, and content features through the five senses and the power of the mind and perception.

Considering the region's climate, designing the dimensions and proportions of plans and proper location of buildings reduce the thermal and cooling load, and improve natural ventilation of buildings. Accordingly, in this paper, an office building in the temperate and humid climate of Rasht was simulated using DesignBuilder 5.4, and the natural ventilation and total annual energy consumption were calculated. The aim of the study was to analyze the existing situation, propose methods to improve the ventilation-energy consumption behavior based on plan proportions, orientation, and, present models to design office buildings in temperate and humid climates. Therefore, the building was simulated in seven different orientations, namely south, 45, 30 and 15-degree southeast, and west, and the values of ventilation and annual energy consumption were calculated. Then, it was proposed to adjust building plan proportions from 2:3 to 1:3, 1:2, and 1:1, to simulate each proportion for 7 different orientations. The lowest total annual energy consumption was observed in a building with a 1:3 proportion and north-south orientation, and the highest natural ventilation with the same proportion was obtained in 30-degree southwest and southeast orientations. Furthermore, changes of ventilation and energy consumption indices were calculated for the changes in four proportions in order to conduct a comparative quantitative analysis. The highest ventilation index was obtained for the lowest energy consumption growth index in 1:2 proportion for 15-degree southeast, and west orientation.

Statement of Issue:

 Islam is the most perfect divine religion that was revealed by Hazrat Khatam al-Anbiya (PBUH) for the guidance and salvation of human beings. Religion has originated from the source of revelation and human beings achieve religious knowledge through the actions, sayings and narrations of the Holy Prophet (PBUH) and the infallible Imams (AS). Religion is formed in three areas of beliefs, ethics and rules. Beliefs or principles of religion include: monotheism, prophecy, resurrection, justice and Imamate, which every Muslim believes in any of the principles of religion because they are not imitations and must be based on reason and proof. These principles apply to all matters of the universe. How to spread these principles in Islamic architecture is discussed in this article.

Research question: 

How is the process of spreading beliefs to the subjects of art and architecture?

Religious education is one of the principles of religion, current and current in all subjects of the world, including art and architecture.

The beginning of this research begins with a description of keywords and is explained through citations and theory, and then analysed through comparative studies to spread beliefs in Islamic architecture.

The most important findings and conclusions of the research: 

Each of these principles has a specific meaning and derivatives derived from these principles have general and inclusive meanings. The specific meaning of each is specific to the same principle and has a single meaning that indicates religious insight. But their general meaning, which is done through their derivatives, has a theoretical and philosophical dimension that has multiple and wide meanings and inclusion in various fields, and their examples have definitions that also appear in the science of architecture.

Proposed model of Iranian_ Islamic neighborhood archirecture based on notions of life and Islamic wisdom Abstract A person who naturally desires urbanization and civilization, needs a ubiquitous space to grow on the path to excellence. Contemporary neighborhoods architecture has affected by the physical western urbanism, it has created field of weakness in belonging, and attachment and link the person with the environment. Pattern of constituent neighborhood forms according to religion, thought, culture, customs and traditions of a nation. Based on the experience of living in a traditional neighborhood,sense of solidarity in social relations have concerned in the formation of the Moslim Ummah in this study, it has emphasized weaknesses and shortcomings of Islamic producer pattern. Neighborhood as an anelysis at whale, wich is a city to smaller elewents that we name them neighborhood, in a way that these smaller units and elements get together and create the city. Neighborhood is a collection at different inter-cannected elements and factors wich are. Presentation of exact concept and fotmolation of exact concept and formulation of certain theoretical bases based on worldview and Islamic philosophy can present appropriate pattern for theoretical and practical parts of the neighborhood.on the one, this research is fundamental and theoretical with descriptive approach, analytical and qualitative, it exploits from method of logical reasoning on the basis of the world of God and logical inference. On the other hand, in the field of applied scientific and experimental approach, begins roviding conceptual and practical model from Islamic community of material and spiritual needs of people in developing moral and happy life. In this paper, according to the definitions and the concept of neighborhood, the findings suggest what promotes the sense of community, it is knowledge_based and formation of purpose neighborhood. The purpose of construction neighborhood is not only formation of place but it is higher target places. According to this, what forming a neighborhood in first stage is school or benefits and worldview producer that defined in Islam social thought in the sense of nation.what is concept of neighborhood infrastructure with a systematic pattern of life that started three levels of religious, philosophical, scientific. Also, it applies political and social factors in the formation of neighborhood. The way to achieve the goal of the formation of the neighborhood in the environment and neighborhood of the neighborhood, with the formation of a sacred place with four attributes (safe, alive, clean and peaceful) in the material and spiritual domain and the formation of the Ummah. As a result we can consider the neighborhood based on mentioned pottern life creating factors and vieus in islamic wisdom arrarging and recreation of it thraugh political, cultural and economical factors in accordance with religious, scientifcand philosophical world view place and situation, noture and environment, culture and human and firally principles and valees at islamic and mental criteria that are trying to develope and reinforce the social basis and integrity at social. Key words: Iranian_ Islamic architecture, notion of life, religious worldview scientific worldview, philosophic worldview, Islamic neighborhood.

The natural ventilation and the energy consumption are very important characteristics in buildings. Representation of the patterns for better natural ventilation performance versus lower increase in energy consumption is significant and useful. This study is simulating an office building in the temperate and humid climate of Rasht in Iran, and calculated the annual ventilation and the energy consumption for heating, cooling and total energy using Design Builder v 5.4. This simulation investigated variations in the window-to-wall (WWR) the building in cardinal directions. Accordingly, the influence index of consumed energies and ventilation from a change in WWR was calculated in cardinal directions. Moreover, the changes in total energy consumption and ventilation indices based on WWR were defined, calculated, and qualitatively analyzed. In the west direction, for the WWR of larger than 20%, a relative jump in total energy consumption is achieved. The ventilation and total energy consumption increased with increasing WWR from 10% to 15% and 20%. Also, for an increase to 25%, the lowest kew/kvw is attained and demonstrates the appropriate value. The heating energy consumption is positively affected by an increase in windows area in the north direction. In the south direction, WWR decrease from 25% to 10% showed better ratio of energy to ventilation indices. With increasing WWR from 25% to 30%, the low index ratio of 0.17 is achieved, demonstrating a larger increase in ventilation than in energy consumption and was considered as the suggested WWR. In the east direction, increment of WWR from 15% to 20% is a more appropriate option, as the ventilation index significantly increases with slight increase in energy consumption. Thus, using these indices and their analyses, engineering models of fenestration design of office buildings in the climate of Rasht to be improved in terms of energy consumption and ventilation.

Researchers and experts have employed various approaches in dealing with Islamic Architecture. Architects, scholars, designers, mystics and philosophers have interpreted this phenomenon in their particular ways over time. Some merely have considered historical descriptive methods as an outward expression. Sometimes these descriptions and analysis aim at definition of spaces and architectural elements and at times an architectural description of different eras of governments from a historical point of view has been carried out such as Pope, Groop, and Herzfeld.
Using historical analysis architectural works are examined unfortunately some of these analyses have digressed from the truth of the subject for not being familiar enough with the principles, values, and percepts of Islam and its relation to architecture. Pope, Papadopoulos and others have analyzed Islamic Architectural works over history belong to this group.
Few of these historians such as Papadopoulos in his book titled The Islamic Architecture has concluded that there is no such a thing as Islamic Architecture it is in fact a combination of Greek and Byzantine architecture. He introduces the Damascus mosque as an example that is take from the Byzantine architecture such analysis as Papadopoulos are to a great extend simple and shallow since they lack any scientific value and credibility.
Some others have utilized a philosophical view or in other words have examined the subject with an ontological or epistemological perspective. Philosophy means knowledge of the facts of beings to the point of one’s capability and its applicability. Other characteristics of philosophy is generalization. Various references can be made to generalization. It is the opposite of details for instance the concept of architecture, square, and garden can be referred. However, general has only one place and it is in man’s mind and wisdom. Nevertheless, general is external and objective.
Others have used logic which is the tools of orthodoxy of man in relation to subjects. The logical approach of using the mind is to gain knowledge. Logic includes analogy, induction, and world of ideas. They have attended the Islamic Architecture using these logics. It should be noted that Islamic Architecture has mostly benefited from world of ideas or in other from form and concept. Form signifies the appearance of an artistic and architectural work that can be heard (music) or read (writing). Concept is meaning, logic, purpose, objective, reference, interpretation, and what form or word signifies. Form and concept in architecture is concerned with tangibility and rationality (oversensivity) and architectural form signifies that meaning and concept conveying the architect’s meaning.
Some researchers have also found the roots of valuable works of Islamic Architecture in the past teachings. With training the architect (student-teacher based), they have dealt with the formation of Islamic Architecture that is how students are trained and disciplined and how their teachings has led to unparalleled works. Letters in magnanimity are the foundations of such discussion. The basis of this approach, in addition to interest and talent of the student, are refinement, construction of the soul and from world loss and the manifestation of God’s spirit is in them and in turn learning its terms. Thus, primarily, the student should be committed that is he/she should be well-mannered, have high understanding and be physically able.
Scholars have also benefited from generalization in their studying the Islamic Architecture. Each group consists of objective, basis, and factors. In this study, the objective of Islamic Architecture is elevation and ascent in the living spaces. Basis is the cause of the research therefore, its principles should be looked at in religious, philosophical, and scientific outlooks. Its factors should be found in more general categories of the Islamic Architecture. With the three mentioned outlooks as the basis of subjects in the Islamic Architecture, and examination of the factors, objectives, and domain of the subject a comprehensive perspective is formed according to the capacity of a designer. Religious point of view studies the religious insight, moral ethics, and religious percepts, embracing all the ontological subjects in regard to common concepts and domain of the knowledge. The philosophical point of view questions why, what, and how to achieve a logical word from the external world. Knowledge about the subject is formed logically in the world of mind. The scientific point of view employs the experiences gained from a specialized subject in Islamic Architecture over the time. In this phase, the subject is divided into internal and external strategy where each should be taken into consideration but they cannot be discussed here.
The aim of this article is to brows different approaches toward Islamic Architecture with their analysis. Undoubtedly, each approach pays attention to limited boundary of knowledge in a way that Islamic Architecture which will be useful in their realm. Certainly researchers in Islamic Architecture are knowledgeable in their choice of approach in analysis and research. Here, the important point is that to what extent does the researcher and scholar in Islamic Architecture aims to gain knowledge over the subject? Relying on the mentioned methods we can gain dominance over its perspectives, zone, and development. The questions of the present research are as follow: Are there different methods to understand Islamic Architecture? What are different approaches towards Islamic Architecture? To what extend does knowledge of Islamic Architecture take place?
The method of research in Islamic Architecture is first through brief descriptions of these outlooks followed by an analytical, comparative, and synthesis, using proofs and documents. Finally the argument is examined and concluded with a systematic method.

The world''s endless landscapes are sign of wisdom and unique architecture of the creator. What do the scenery and architectural concepts represent? What are its factors? And how is the process of reflection and understanding of these sceneries by human beings? There is a systematic phase in the appearance of these sceneries that originates from the eternal power. The presence and appearance of these sceneries are God''s blessings in every ways and once he stops his blessings they are destroyed. Every creature of the materialistic world has its own special place، time، and status. Sceneries are divided into three general categories of spectator، light، and space and each scenery makes the spectator to reflect and acts as a reminder of God''s wisdom. Man''s level of perception of scenery rises from feeling to imagery and to reason. Reason has penetrated deeply in the perception of sceneries and it continues to the point that it reaches the truth of the existence.