manochehr forotan

In recent decades, the concepts and ideas of human sciences have been closely related to art and architecture; So that this relationship has led to the production of new forms, spaces and readings of architecture. This relationship occurs both as a common chapter between architecture and human sciences. On the other hand, with the importance of finding language in postmodern theories, architecture has been seen as a text. A text that conveys a set of values, thoughts and traditions along with it and has a language behind its curtain that talks to the audience and the audience tries to read its meaning and interpretation. Semiotics, as one of the methods of text analysis, seeks to analyze texts in terms of structured wholes and focuse on the system of rules that govern the discourses involved in texts and emphasizes the role of semiotic context in the formation of meaning. Each and every detail in traditional Iranian houses had its meaning and concept for users, which has made it valuable.

This study examines the meaning of home from the perspective of social sciences that pays more attention to the cultural and social aspects of the home. In this approach, one of its methods is the semiotic method. Semiotics in the field of architecture is the acquisition and recognition of meanings beyond the functional implication of architecture, and attention is paid to the communicative nature of architecture, which is rooted in social-cultural relations. The foundations of semiotic knowledge, which is based on meaning and interpretation, can be a platform for understanding the relationship between how the semantic and structural components of the architectural space are perceived. Since semiotics is related to the basics of deciphering meanings, the role of the interpreter is important in understanding these concepts.

This study is to investigate the effective components in creating meaning in a traditional urban house and to develop a conceptual model for proper reading of the text of the house by layered semiotics so that its layers are identified and the objective appearance of the signals network is determined in an interactive context.

The research shows that the house is a text that consists of several layers of meaning and systems involved in creating a work of support and create a systematic whole called the house

Architects use different media to represent and display their ideas. These media include a wide range of architectural volumetric models, hand drawings, verbal allegories, sketches and recently computer modeling. Among these media, hand drawings have always been important in architectural design and have played a pivotal role. This role has become more important in architecture since the Renaissance with the emergence of perspective. Before the spread of such drawings around the 15th to 17th centuries, drawing in architecture was common in previous periods. Until then, drawing was a tool for conversation and media between the employer and the architect. But after that, drawing is a tool for thinking and a tool for pre-designing, modifying and correcting the pre-construction form. It can be said that the methods of representation, image and perception of architecture have always had a reciprocal relationship with our perception of space and also with the spatial organization of architecture.So far, only a few studies have been done on architectural drawings and their relationship with the Iranian architectural organization of space. These few studies have focused more on the typology and classification of drawings left over from Islamic Architecture and have questioned their application in the Iranian architectural space organization. Iranian painters, especially after the Ilkhanate period, have represented architectural and urban spaces in paintings. Compared to the European perspective and tradition of drawings, Iranian painters represented architectural and urban spaces differently. Most of the research in the field of Iranian miniature has dealt with philosophical foundations, especially around the concept of the imaginal world, or the methods of representation in the form of analytical-aesthetic methods. The purpose of this study is to understand the structure of miniature representation. In this regard, it deals with two aspects of the content of representation and the way of representation of miniatures and analyzes them. The emphasis of the article is to find out how Iranian painters have portrayed the world around them.In this research, forty miniatures belonging to the Seljuk, Ilkhanid, Timurid and Safavid periods have been studied. This research can be considered as a historical study that uses an analytical-aesthetic method to discover how architecture is represented in Iranian miniatures. The findings of this study show that Iranian miniatures include three independent systems of architectural, landscape and behavioral representation. These systems overlap to form a miniature. Each of these three systems of representation has its own rules.The findings of this study show that the method of composing the page in a miniature follows three general principles: (a) organizing the general space with clear lines and framing (b) independent spaces and their collage (c) intensive space narration (collage of space units) and high horizon. This research showed that the way of representing the architectural effect in miniature includes (a) isometric or flat display of side surfaces, (b) special rules of displaying the floor and interior surfaces of the porch and (c) simultaneous display of interior and exterior of a building. These findings have been achieved by focusing on the architectural representation system.

In the wake of anthropocentric thinking of Descartes, human and the world surrounding him or her, divided into two separate component. Highlighting the optic phase of contemporary environment, this separation become more obvious. Lots of phenomenologists like Merleau-Ponty try removing this separation, he considers the body as a primary factor in defining space. A phenomenological approach to the cinematic experience focuses neither solely on the formal and narrative features of the film itself, nor solely on the Spectator’s psychic identification with characters or cognitive interpretation of the film. Instead, phenomenological film analysis approaches the film and the viewer as acting together, correlationally, along an axis that would itself constitute the object of study. Phenomenological approaches to film are useful in that, rather than strictly opposing approaches based on optical vision, distance, and ‘the gaze’, they complement existing theories. From a phenomenological perspective, it is the body with its expressive and perceptive qualities that constitutes the necessary condition for looking, identification, emotions, and pleasure. Film phenomenology has appeared again in two approaches after a long gap that has been set through beginning semiology in film studies, the first approach is relied on Husserl’s phenomenology and the second is relied on Merleau-Ponty’s phenomenology and his embodiment perception. We follow the second approach in this paper and focuse on Vivian Sobchak’s theories that is abstracted and relied on Merleau-Ponty’s phenomenology of perception. In Sobchak’s theory a film is experienced and understood for what it is: a visible and centered visual activity coming into being in significant relation to the objects, the world, and the others it intentionally takes up and expresses in embodied vision. Sobchack established his studies based on three model that helps us in figuring out the body of film. Our purpose in this paper is recognizing and analyzing the film body in Abbas Kiarostami’s cinema. This research has a qualitative approach and with the philosophical framework of phenomenology beside that, help of the research model abstracted from theoretical foundations tries to recognize and analyze film body and embodiment perception of it in Kiarostami’s cinema. On the whole, the research showed that the film body in Kiarostami’s cinema is so similar to human body in perceiving and expressing the surrounded environment. As Kiarostami’s ideology and theory in minimalizing and even eliminating any unnecessary objects from his films, he tries to eliminate any unnecessary objects in fusion of film and human body. As we have reached in the third model of Vivian Sobchak’s theories about film body, the camera and the hermeneutic opaque relation of human body is so essential in analyzing and recognizing film body. Our research shows that the third model is the best model for analyzing the film body in Kiarostami’s cinema. As we have pointed out the body of film in his cinema acts like the human body and the fusion of them is undeniable. The subjective angle of his camera and multi sensational space of his movies are vital component in fusion of film and human body.