جستجوی مقالات مرتبط با کلیدواژه « معماری ایرانی » در نشریات گروه « علوم انسانی »

The success rate of cultural spaces has always depended on human presence and utilizing the spaces. The cultural spaces have sought to increase social interactions and human solidarity in addition to the revival of culture and art. One of the primary views of Iranian architecture is to pay attention to the social dimension of man and his need to be present in society. The present sought to investigate and evaluate the impact of Iranian architectural indicators and their unique features on the social interactions of humans in cultural spaces based on library and field studies and content analysis about the theoretical foundations. It has been hypothesized that cultural spaces are a platform consisting of social and human activities and relationships. The analyses revealed that the identity of iranian architecture and its constituent elements are in line with the identity needs of man and his social identity, and always paying attention to these indicators and the elements invites him to communicate and participate in social interactions.

Nowadays, in contemporary tombs, the consideration of identity-building components in Islamic Iranian architecture has been forgotten. In such a way, the tombs of contemporary Iran have turned into meaningless places. Therefore, the research aims to explain the identity components of Iranian architecture in the tombs of Hafez in the Metaverse era. The research question is how to quantify and understand the identity components of Iranian architecture in the tombs of Iran in the Metaverse era. In this regard, the descriptive-analytical research method has been used, and the method of collecting information is through library studies. The results showed that in the age of the metaverse, which is based on virtual realities and the virtual world, components such as real presence, interaction, stability, transcendence, and low cost can revive the identity-building components of Iranian architecture in today's tombs. Considering that the metaverse era manifests modernity in the virtual world, the combination of traditional and modern physical elements in form, materials, and geometry can be appropriate when simulating. Additionally, the use of environmental and climatic patterns, such as the garden and pavilion pattern, the five elements of nature, and attention to the region's climate, can lead to economic savings while maintaining sustainability.

Apart from the economic aspect and the exchange of goods, Iranian markets were considered as one of the most important centers of communication and social relations in every city. The reason for the successful presence of people in this place is the existence of the market structure and its constituent organs, each of which has an independent identity and a meaningful link for the presence of people and human activities. In fact, patterns and proper spatial arrangement in Iranian markets have created a direct link with physical layers and a meaning to create continuity in the architecture of the market so that the spaces can be used independently and in connection with each other at the same time. Understanding the effect of spatial arrangement in the market and the effect of existing patterns that create experience in the individual is one of the goals of the research. Based on this, this research examines the shoe market of Tehran. This applied research is of a descriptive analytical type with a qualitative approach, which collects information with the method of document review, ethnography and field work techniques, non-interventional observation and analyzes the information with the method of reasoning and graphic analysis. The present study examines how the objective characteristics of the spatial patterns of Tehran shoe market adapt to the subjective perception and experience of the individual and the characteristics of the resulting outputs. According to the studies conducted based on the findings of the research, the result obtained is the synchronicity and connection of the spatial arrangement and the mutual connection of the physical and perceptual functional systems in the shoes market leads to the creation of meaning in the space and its effect on the experience of the people present in the market.

The increasing importance of fossil fuels in the last century and the lack of non-renewable resources on earth has led to the extinction of human life. In recent years, there has been a shift towards cleaner methods where energy pollution from non-renewable sources is minimized. Each climate has its own conditions and characteristics, and this is the trend towards sustainable architecture in the traditional architecture of Iran. The importance of using energy to provide solutions increases at all levels. Due to its location on the sun belt, Iran is one of the suitable areas to benefit from the sunlight, and it is possible to increase the comfort function by taking advantage of the climatic features and the features of the traditional elements of sustainable architecture, taking into account efficiency and productivity. important indicators such as: orientation based on three institutionalized rune categories and models for city and house structure in Iran, walls in terms of materials and thickness, form of roofs, color and openings of external surfaces of traditional houses, etc. were used so that the amount of consumption It reduced the energy so as to be able to get rid of the environmental problems of the city.

The research method in this article is descriptive-analytical, and the library method was used to collect information and data.

By examining the theories of logical reasoning for the documentation of the texts, in this method it is tried to spread the qualitative and conceptual strategy issues in this research, and at the end of the research, the indicators of sustainability in the traditional houses of Iran were presented; As he got ideas and lessons from the energy efficiency of traditional Iranian houses to achieve a desirable design for today's modern architecture.

Architecture in every society is influenced by the norms and values of that society. Iranian architecture is no exception to this rule and has evolved throughout its several thousand years of history in connection with Iranian culture and ways of life. Introversion and concealment in architecture, as well as the separation of interior and exterior in traditional houses, is one of the prominent features of Iranian architecture. In this article, we have discussed the relationship of this architectural manifestation with the social ethics of Iranians in the Qajar period and we are looking for the common roots of the dual inside and outside in Iranian architecture and personality in Iran's social conditions. The research method in this article is a historical interpretation based on the data obtained from the travelogues of European tourists. The findings of the research show that the social insecurity in the society, which itself was the result of factors such as authoritarian and arbitrary government methods, has been an effective factor in the formation of this spirit in people and subsequently in houses and other buildings, and this is due to the background The cultural values of Iranians have emerged in specific ways.

Paying too much attention to the eternal power of reasoning and ignoring the latent mental spaces has created crises of the gap between the contemporary human and the artificial environment. Therefore, it seems vital to recognize the roots of the connection between the mind and the body in the fields of architecture in the past. Aiming to identify the mystical field in the Iranian introverted architecture, this study investigates another field, beyond the realm of existence mirror. The theoretical foundations of the research specifically refer to the position of the phenomenon of mirror in philosophy of Illumination and its role in the Iranian introverted architecture. The main research question refers to how the essence of space appears in the architecture. The qualitative method of this research is based on an interpretive philosophical view that uses the methodology of logical reasoning to explore the inner reality of space-place. The results show that the development of other sides of things and the recognition of the field beyond the realm of mirror would be possible by the transition from the methods of looking inside and outside in the fields of Iranian introverted architecture. Meanwhile, “the confrontation of mind and object” leads to “internal and external transformation of the human being” and creates “another realm called the world of mystics". The degree of presence in the space of introverted architecture is adapted to Suhrawardi's philosophy and passing through the seven steps of: the trouble of separation from the outside, joining to the inside, awakening, astonishment, annihilation, immersion in the depths of maze, the return and development of a mirror phenomenon, the human enters another realm of existence. At the end of this path, the mystics will appear in the interior spaces of architecture.

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.

This paper attempts to extend Ladislav Kesner and Richard Elbridge's insights toward collectivist explanation in art historiography in response to Branko Mitrovic's critique in “Rage and Denials”. A counterexample situation in architectural historiography is propounded to elucidate how a collectivist explanation in a moderate realist form is not only apt but, in some cases, inevitable. It relies on our primary claim, the possibility of some non-essentialist, non-ideological, non-deterministic and non-egocentric collectivist explanations, regarding the main faults assigned to collectivist stances in art historiography by Branko Mitrovic. The Counterexample situation explains the possible actions not implemented and decisions not taken in designing a building. In addition to the choices that led to the final formulation of the artwork, one must also consider the other options available, those possible choices that were left out, to clarify feasible limitations and, conversely, the choices that led to the emergence of the work. Even considering that all final decisions merely result from chemical interactions in actors' brains, one cannot judge alternative options the same way, some of which did not even occur in the artist's mind or the network of agents involved. The repetition of dismissing these alternative options during a long-durée, thus the formation of a pattern, cannot be explained by the individualistic stance proposed by Mitrovic.

Studies conducted in the domain of Iranian architecture are extensive as well as diverse. In these studies, different meanings of geometry are considered, and consequently, a wide variety of orders of Iranian architecture can be identifiable. Extensive studies are conducted on each of these geometrical orders of Iranian architecture. The importance of elaboration on these geometrical orders in comparison to each other is of great importance and considerable. Moreover, it would be able to prevent many of the errors that occurred. Taking into account the mentioned explanations, the underlying theme of this research is that what types of geometrical orders can be recognized among the votes of Iranian architectural research? This research is based on an assumption that geometrical orders of Iranian architecture have various types and levels which are elaborated till today. In this research, the qualitative content analysis method is applied to study the votes of the researcher. Choosing texts for this research and initial coding was based on the targeted selection among texts connected to the network of consistent concepts with geometry (basic concepts) in relation to Iranian architecture. Afterwards, selected texts were classified and named based on the similarities in fields (main topics), and again, these topics are secondly classified and named based on the similarities in fields. The results obtained from the geometrical orders of Iranian architecture include Geometrical orders of Human dimensions, climatic geometrical orders, geometrical orders of organization, aesthetic form geometrical orders and aesthetic arrays geometrical orders. It is noteworthy that these geometrical orders crystalize from the galaxy of Iranian geometrical architecture woven and impartible; therefore the primary goal of their identification is to gain cognition toward individually to shed light on them.

Ghaznavid period is one of the most brilliant era of Iranian architecture because of building ceremonial monuments. Before the late centuries of Islamic epoch, Ghaznavid period is the only time that architectural monuments of this type have been left remarkably. One of this monument which is excavated and appearedis “the palace of Masoud III” in the north eastern Rabad of Ghazni. In spite of noteworthy studies about this monument, no comprehensive acknowledgments achieved from architectural details and spatial elements. This weakness is more manifest in studying the origin pattern of constructingspatial elements. By proposing the mentioned problem, this study attempts to search the body structure of the palace according to documentary studies which theirs information interpreted and analyzed by “historical approach”. The results show that the palace presented aninnovative structure in the way connecting chambers by an ante-chamber with courtyard inceremonial architecture type. The structure of the palace is more trended to Iranian architectural tradition than other Ghaznavid palaces. Except fortified pattern which resemble it to Umayyad and Abbasid models in levant and Mesopotamia and also the four alcoves(4soffe) plan of central courtyard that despite widespread usage in Iranian architecture, it was traced back to the late 4 millenium B.C. in Mesopotamian architecture, Iranian tendency can be seen clearly in constructing other spatial elements; Multi entrance vestibule, nine bay (Nuh Gunbad) hall for guardians, composition of ceremonial alcove and throne hall, cultural-social construction of two units “Andarūni” and “Bīrūnī”, inscription in Dari Persian and heroic concept of the marble frieze of the central courtyard prove this tendency.
  Early Hijri century’s monuments have a very important role in the history of Iranian architecture. This importance is due to the few number of monuments that have been left in cultural geography of Iran. A significant part of these monuments are related to defensive and religious architecture. Although historical sources have mentioned the ceremonial architecture, there is not so much traces of them. In the period of Ghaznavids besides the construction of schools, mosques and castels, many palaces were built which, unlike previous periods, a large number of them has left. From this point of view, perhaps it is better to say the Islamic ceremonial architecture has started comprehensively in this period. Most of these buildings are located in the outer areas (rabaz) of the historic city of Bost which is now called Lashkargah or Lashkaribazar. Ghazni as the capital of this empire, turned to the center of attention since Mahmoud bin Stubketin (421-388 AH) until Bahramshah (522-511 AH), the late ruler of Ghaznavid. In this period, each ruler had built his own Dar-ul-amara (palace of governors). Bayhaqi, the historian and author, has recorded the name and position of many of them. One of these sultans, Massoud III (507-492 AH), built a palace on the hillside in a location between the so-called Rawda and the city of Ghazni, which was revealed by the archeological excavations of the Italian group. Despite of the importance of this monuments in the history of Iranian architecture, studies which have conducted on this palace have not reached to any significant result; its design, structure, and spatial components have not been compared to identical examples; hence, there is no precise knowledge of its origin.
 
The present research by making a comprehensive study on the structure of the Massoud III palace, aims to, in particular, represent its image based on the historical sources and architectural findings and in broad-spectrum depict the ceremonial architecture of Iran and its spatial structure in the fifth century AH. In this regard there are two main questions: First, what is the origin of the construction pattern and the special elements of the mansion? And second, how was the Iranian rulers’ mansions in the early centuries of the Islamic era or generally how these buildings were constructed and designed?
    The city of Ghazni, the center of Ghazni Province, is located in the eastern part of Afghanistan. Also, it is located in the route which is connecting the two major cities of Kandahar and Kabul. Because of such vital situation, some historical geographers consider it as one of the Khorasan docklands or Indus river deposits. This city and district were among the foundations of the ancient settlements’s formation. Ghazni is the "Zabolestan" of the most famous literary and narrative texts that many Iranian heroes have emerged from. Due to its location on the hill side of the Hindu Kush Mountain (2300 meters above sea level), it has a moderate climate and has been used continuously throughout the pre-Islamic period until the middle Ages of the Islamic era as a summer residence. After being destroyed by Ya'qūb-i Layth-i Saffārī in the second half of the third century (256 AH), The city was rebuilt by Amr Lith. Its zenith was during the Islamic era when The Ghaznavid rulers chose it as the center of their government. Its position alongside the commercial highways led to call it as the "great Indian market". However by the attack of the ruler of the mountainous land of Ghor in 546 AH and burning the center of the Ghaznavids' rule, the situation of the city had weakened. The Mughal invasion in 618 AH was the final blow to the city and its architectural monument. Since then, although the Ilkhans and Timurid have been trying to rebuild the city, it had never reached to its magnificence situation of the Ghaznavid era.
The Masud III palace is located on the north-east of Ghazni. As some scholars have said, it is located in a district of the Ghazni area which other Ghaznavid rulers had built their palaces too. In the neighborhood of this location, the historical sites of "Shabhar" and "Afghanshal" are located.
  Some special elements were identified in this palace which seems to have been their first appearance in a ceremonial design; the new experience is how cluster access around the middle class into this space is through a prehistoric one. This way of communicating, which later became typical of the spaces surrounding the Safavid period schools and caravansaries, had previously been seen only in the inn of Sangi in Natanz which is belonging to the early Islamic era. But it seems to be an innovation in the architecture of ceremonial buildings. The palace court by marble arrays arranged in its outer walls is one of the most valuable memorials of Iranian architectural history. These marble blocks carry an inscription in the Persian Dari language in commemoration of Sultan Massoud III and his family.
The significance of these arrays is that an architectural monument for the first time experiences a long, epic non-Arabic scripts. This issue can be undoubtedly attributed to the movement that had come about with the advent of Ferdowsi and the creation of his gracious work of Shahnameh.
The overall findings of the research show that, despite the researchers' emphasis on the effect of the Umayyad palaces specially the palace of Mashatte in the design and pattern of the Masud III palace, the palace's body has more than any other known examples of the Ghaznavid era benefited from the Iranian architecture pattern.
Aside from the castle structure of the palace which like Lashkar Gah, can be compare with the Umayyad and Abbasid palaces, many special elements of the palace have Persian origin and can be traced back to the pre-Islamic era in Iran. If we refer to the four-dimensional plan of the intermediate land to Mesopotamian origin, other special elements of the mansion such as the nine-hall pattern of the Chamber of Guardians and House Guardians, the multiple entrance vestibules, the spatial structure of the bar and the flat room and its inscription with the epic theme, express the Persian origin of the palace.
The palace's socio-cultural structure is also more Iranian than most other examples. Two common parts in the Iranian architectural culture, namely, interior and exterior, clearly can be identified in the palace. The small and independent architectural unit of the southwest corner is Indoor and a large spatial elements and the related elements to it was the official reception of the court.

The present study seeks to investigate the effective components of crime reduction in Iranian judicial complexes by changing the construction of these complexes with elements of environmental design, especially Iranian environmental design. Avoidance of Iranian architecture today causes monotony, depression and consequently crime. This article examines the reasons for creating tension and mainly crime in the field of Iranian judicial complexes and its purpose is to study the principles of environmental design and crime prevention methods while maintaining the beauty, importance of these places and providing suggestions for its projects to The shape is correct. This research is qualitative and the method of analyzing information in the form of criminological arguments. Studies show that the distance from the preventive principles of Iranian architecture can lead to crime, especially insults, quarrels, thefts, etc. around or inside these complexes.

Identity crisis is one of the contemporary problems which experts in any fields try to solve it. It is more important in Iran as a country with brilliant culture and civilization.
In the content of the first program of the fifth development law, Iranian Islamic culture and identity is regarded as a regulation for the goverrnment, so it is expected that Mehr residential complex which is the most important governmental building project after the revolution be the symbol of Iranian and Islamic identity and spread the pure spirit of it instead of imitation. This assay is seeking for Iranian and Islamic individuality factors related to the residential architecture and generally analysis the existence quality  of these factors in the Mehr residential complex (phase 3) in Pardis city in Tehran. In order to achieve these aims, research method which is used in this essay is descriptive and analytical and by logical reasoning conclusion were defined. The research findings indicate that Iranian Islamic architecture elements were not sufficiently utilized and shows the lack of using identity factors for the design and construction which be suitable for a worth Iranian Islamic complex.

Ishraqi philosophy comprising Iranian-Islamic philosophy can be considered as the basis for the study of the role of the philosophical concepts in the Iranian- Islamic art. The aim of this research is to answer the question of how the concepts of Suhrawardi's illumination have been displayed in the Iranian architecture and music. For this purpose, firstly, the concepts of Suhrawardi's illumination have been discussed; then, these concepts have been investigated in the Iranian architecture and music. Finally, a comparative study has been done in these two areas based on the mentioned concepts. The findings of the study suggest that the concepts of Ishraqi philosophy can be clearly observed in the Iranian architecture and music and Suhrawardi's views can be considered as the basis for the conceptual adaptation of these two.

Mosque as an essential element in human society has an important place in Iranian- Islamic architecture so that its architecture has always been considered. According to their specific architecture, mosques have similar elements distinguishing them from other religious buildings including the elements; Domes, minarets, nave, altar and floor which based on their form and function are in different parts of the mosque. The current study investigates common elements in Iranian mosques. Also, the mosques in the city of Ilam have been analyzed according to their constituent components. The research method is descriptive – analytical and methods of data collection are survey field study and referring to the location for library study.
The results show that there are about 27 mosques in the city of Ilam. Among the mosques surveyed only two mosques have all common elements such as the Iranian mosque Domes, minarets, nave, altar and floor are. Also, among the elements mentioned only two elements of the nave and the altar are common in all mosques of Ilam Mosques and other architectural elements are observed only in some mosques in such a way that the minaret of the mosque were in 15, using the mosque courtyard in 10, and the dome of the mosque was observed in five mosques. The lack of full application of the elements that have been identified as symbolized in mosques, approves the weaknesses of mosques in the city of Ilam compared to other mosques in the country. For this purpose, at the end of the article, some suggestions have been provided for solving the problems.

During the Seljuk era, Iranian art and architecture experienced significant growth and change. This period can be said to mark the beginning of the use of colorful tiles in architecture and paving the way for the flourishing and progress of decorative arts in later periods. Some of the arts which were widely employed in the architecture of the Seljuk era included brick work, stucco decoration, coloring, and creating various designs in the exterior sides of buildings. Accordingly, the love of luxury, as manifested in the architectural works of this period, is considered to be an important factor in the development of artistic renaissance. Following a descriptive method, while introducing the architecture of the Seljuk period, this paper examines the features and methods of Islamic architecture of the fifth and sixth centuries (AH) in the realm of Iranian art and architecture.

Architecture, as an art which evokes worship and devotion, has been the ground of unity and integrity and a distinguishing feature of the Iranian-Islamic culture since centuries ago. However, with the arrival of modernity, architecture underwent tangible changes. Modern architecture is based on the rationalism and positivism of empty spaces, and even though endowed with the highest scientific facilities and technologies, it is in need of a spiritual breath to be blown upon it.
Human existence has a spatial nature; its essence is in the world, and intertwined with it. Therefore, the existence of the geographical life world, especially its spatial aspects, is the basis of the existence of the social life world. With an Introversive perception of space, human being comes to an “identity with space” and sees his own identity in the mirror of the surrounding space.
Taking into account the effects of space on human perception and the richness of Persian architecture on one hand, and the modern developments in contemporary architecture in Iran on the other , this paper is a case study of “The Abbasian House " as a place with distinguishing elements of Iranian-Islamic architecture by means of the phenomenological method.
The perception of relaxation in the house, the spiritual perception towards the domes, the perception of the spatial potentialities of solitude in the house, the expression of interest for the architectural style of the house and the ability of the contemporary (visitor) to decode the veiling principle, are among the results of this study.

The way of visual representing women cover in private & public communities by considering religious culture of Islam & Islamic Iranian literature at Iranian paintings (miniatures) is the subject of this paper. The research method is reading common signs in miniatures hypertexts and analyzing their intertextuality to find the functions of lingual system & the context of miniatures on the women veil. In this approach, each painting includes a cohesive lingual system which combined signs of visual art, literal discourse & religious teachings. Simultaneous presence of these text in Iranian paintings, obliged transtextual analysis as comprehensive reading at comprehending these paintings. Thus selected works were analyzed based on this method. The sample was selected purposively and the reflection of women veil in public & private communities and the kind of their social presence were considered at reading paintings. The main question of this paper is: considering women veil, how the social interactions of women have been represented at Iranian paintings? Is the way of visual representing women veil at miniatures is dependent on their location in public & private places? The findings of paintings analysis shows that women images at Iranian paintings include an intimate concealing which is not so much dependent on the women presence in public or private places and the women have been imaged at both places by religious advised veil.

The present article is an attempt to investigate educational space from the viewpoint of aesthetic to find some presuppositions which can make change in educational spaces according to Islamic aestheticism which can, in turn, direct the learners’ behaviors in the process of perception, feeling, thoughtfulness toward dynamism and the final goal of Muslim human. The methodology used is analytic-inferential which uses texts, analysis of views and the experiences. The findings delineated that it is possible, through the capabilities of the educational spaces, to design spaces that can actualize the present potentials of students and bring about a range of aesthetic features which can create harmony, calmness, power, pleasure, spirit, and attraction for students. On such bases, the principles of Islamic aestheticism have taken the goal-orientation of life, social involvement, and accompaniment of science and wisdom along with inquisitiveness in educational spaces into consideration