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

The architecture of all lands, including Iran, has always been in a deep connection with culture, and it can be seen as an expression of the thoughts and values of the society. One of the important periods of Iranian architecture is the Qajar period. The changes in the architecture of this period can be analyzed under the influence of two groups of external factors (Western influence) and internal. In this article, the focus is on internal factors and to obtain data related to the subject, the travelogues of Europeans who traveled to Iran during the Qajar period were used.The research method used in this article is the content analysis method, which is based on first-hand historical data, namely Ferangian travelogues who were in Iran during the Qajar period. For this purpose, 22 travelogues were used.According to the reports of tourists, one of the characteristic features of buildings in this period was their short life. In this article, this issue has been investigated in relation to cultural, social, political and governance conditions.By examining the data obtained from the travelogues according to the physical characteristics of the buildings and the cultural, political and social characteristics of that period, it is shown that unpredictability and insecurity in the society can indirectly affect the buildings and lead to the formation of a type of short-term architecture that It prepares the ground for being influenced by the architecture of other cultures and societies.

With the emergence of Islam, religious architecture gained significant importance, and the mosque became the successor to previous places of worship (Zomarshidi, 1995, p. 9). This shift has played a crucial role in the significance of congregational mosques, making them stand out even more than other mosques in terms of decorative inscriptions (Sedaghat, 2008, pp. 19-18). These inscriptions reflect the architectural transformations of mosques as well as document significant cultural, economic, social, and political events throughout various eras, providing valuable information. This article discusses and recognizes the architecture and inscriptions of the Congregational Mosque of Qaen, which is one of the important mosques from the Timurid period in South Khorasan Province. A review of previous research reveals that there has been no comprehensive study focused on the architecture, inscriptions, decorations, and formation of the Congregational Mosque of Qaen. Therefore, considering the importance of this building, conducting more thorough and complete research on it will not only clarify its characteristics but also enhance our understanding of the culture and architecture of Khorasan. The main questions of this research are:What time period is covered by the inscriptions used in the Congregational Mosque of Qaen?
What subjects are encompassed in the content of these inscriptions?
 

Architecture of the Congregational Mosque of Qaen:

The Congregational Mosque is a two-iwan rectangular structure. The entrance iwan is located on the eastern side. Beyond the entrance iwan is the courtyard, where, on the opposite side of the entrance, another iwan and a prayer hall (shabestan) can be seen. On both the northern and southern sides, there are small iwans with a depth of two meters flanking the entrance iwan on the east side of the building. In part of the courtyard, there is a sundial as well as a water reservoir (payabi). The main iwan of the mosque, situated on the southwest front of the building, is a masterpiece of architecture, with two prayer halls constructed on either side. The decorations used in this iwan include brickwork on the main facade, featuring both horizontal and vertical patterns with geometric designs, while the surfaces below the ceiling of the iwan are adorned with geometric and arabesque patterns, as well as muqarnas. A total of 15 inscriptions have been identified in this mosque, the oldest of which, dating back to 796 AH, is located inside the main iwan and contains an Arabic text stating that the order to construct the mosque was given by Jamshid ibn Qaran ibn Jamshid ibn Ali ibn Ashraf ibn Qazi Shams al-Din Ali al-Qayeni in the year 796. The inscription reads:“This construction has been undertaken as a charity for the sake of God by the humble servant of God, Nizam al-Haqq wa al-Din Jamshid ibn Qaran ibn Jamshid ibn Ali ibn Ashraf ibn Qazi Shams al-Din Ali al-Qayeni in the months of the year 796.”
Inscriptions number 2, dating to 921 AH, concerns the collection of taxes from the people. Inscription number 3 is dated 1046 AH and pertains to a trust of water from a qanat for the mosque. Inscription number 4, also from the year 1046 AH, discusses tax exemptions for certain segments of the population. Inscription number 5 relates to repairs made to the mosque during the reign of Shah Suleiman Safavi in 1098 AH by Haji Muhammad Hossein. Inscription number 6 pertains to the construction of a wooden pulpit for the mosque, dating to 1082 AH. The subsequent inscriptions are from the Qajar period, starting from 1246 AH and continuing to the most recent one, which dates to 1993. These inscriptions, written with ink and color on plaster and mostly found beneath the iwan, include the names of the master builder, the painter, and the scribe, as well as prayers and poems commemorating the significance and grandeur of the mosque. The last inscription (number 15) is related to a tombstone that is placed on the outer wall next to the entrance iwan on the western side of the mosque.
 

Construction Inscriptions: The inscription labeled Number 1, which indicates the construction of the building, and inscription Number 6 (the pulpit) are classified as construction inscriptions. These two inscriptions are historically significant because they specify not only the date of construction but also the names of the founder, builder, and artist.
Endowment Inscriptions: An examination of the endowment inscriptions reveals the religious thoughts of the people. Inscription Number 3 states that land should be cultivated, and its proceeds are to be endowed to the mosque. At the end of the inscription, prayers are offered for the king and the owners, along with a curse on anyone who alters the endowment.
Governmental Inscriptions: Another category of common themes in the inscriptions includes government orders and decrees that were installed in buildings for public awareness. Inscriptions Number 2 and 4 fall under this category. Inscription Number 2 also features Persian words alongside verses from the Quran. Perhaps the inclusion of a Quranic verse served to bless and confer respect upon that inscription, thus preventing its destruction.
Restoration Inscriptions: The oldest of these inscriptions is Number 5, which begins with a portion of verse 18 from Surah At-Tawbah. Inscription Number 7 was written during the restoration of the building by Karbala’i Ishaq Qayeni. Inscription Number 8 is also related to the restoration, placed within a floral frame with two other inscriptions on either side, containing poetry written by Gholamreza Zaker about the majesty of the mosque’s arch. Inscription Number 9 concerns the restoration of the building and contains verses praising the greatness of the mosque. Inscription Number 14 is the most recent restoration inscription in the mosque.
Prayer Inscriptions: In addition to the use of Quranic verses in the inscriptions, there is a group that contains written prayers. Inscriptions Number 11, 12, and 13 are part of the prayer inscriptions, created during the Qajar period and featuring red and black ink on plaster.
Narrative Inscriptions: In the Congregational Mosque of Qaen, inscriptions Number 7 to 10 belong to this category. Inscription Number 7 contains a stanza from a poem in Saadi’s Gulistan. Inscription Number 10 features a poetic line emphasizing the importance of prayer. Inscription Number 8 is a stanza describing the grandeur of the mosque's iwan, spiritually comparing it to Al-Aqsa Mosque. Inscription Number 9 describes the vastness of the mosque's iwan using the literary device of exaggeration. The tombstone inscription Number 15, located at the entrance iwan on the western side of the mosque, includes verses related to the Day of Resurrection, though much of the text has become illegible due to weathering.

The inscriptions of the Qaen Mosque can be divided into two groups based on their temporal context: the first group pertains to the Timurid and Safavid periods, consisting entirely of stone inscriptions related to the construction of the building, government orders, endowments, religious objectives, and restorations of the mosque. The second group is later and primarily associated with the Qajar period, focusing on the restoration of the building and encompassing the area beneath the southern dome chamber.
The studied inscriptions, alongside governmental and restoration texts, include Quranic verses, prayers, names of God, the Prophet, Imams, as well as the names of craftsmen such as the architect, stonecutter, painter, and endower. Understanding these inscriptions is particularly important for identifying the art and local artists throughout various historical periods. The inscriptions from the Safavid period hold significant value, not only for their aesthetic aspects but also as indicators of the political, social, economic, cultural, and religious conditions of that era.

Every new style of architecture is based on the principles, methods and traditions of the previous styles and always has an effect in the course of time that is worth immortality, which has a logical support and deep theoretical foundations. The use of geometric shapes in the architecture has a long history and importance in such a way that they were used in the construction of most temples and holy places. The importance of numbers and shapes is evident in the aesthetics of historical and religious places. Among these, number four and the square-shaped buildings have been favored by Islamic architects in a symbolic way. The purpose of the present research is to draw the attention of architects in the construction of Basila City, the seat of Shah Tayhour's rule in the Kushnameh system, to the concepts and methods that are based on human experiences and the identity sequence of human achievements with previous generations and preconceived notions. Man was created with the ability to respond to the natural and aesthetic needs of his time. The current research was done with an analytical-adaptive method and an inductive one, and the main elements of Islamic architectural aesthetics in the field of practice and opinion are identified. Also, appearance, strength, stability, symmetry, balance, and how they affect the construction of Basila City in Kushnameh system have been investigated.

Organizational transformation is one of the common topics of recent decades in the field of management and innovation، therefore various thinkers، specialists or executives have tried to provide a methodology and model for this category according to their experiences or studies. Naturally، each of these writings، according to their problem and context، have looked at the issue of organizational transformation from a specific angle and presented their own picture of similar realities، and that similar reality is the change of all or part of the organization or industry from one state to another. The situation is different. It means that the existing situation in a managed process has changed to a new situation. Now، if it is asked to use one of these written experiences and previously registered models for a new organizational transformation experience، the question arises as to which model is more appropriate? In this article، an attempt has been made by reviewing the literature in the field of transformation management، the components of each model have been extracted and a comprehensive framework that includes all models has been drawn using the adaptation of conceptual and process elements of all models. Therefore، the aim of the research is to achieve a comprehensive architecture that organizations that have planned transformation can create a path of transformation according to their conditions and capabilities by combining the concepts، tools and processes that are suitable for them. The type of research is developmental with the aim of developing knowledge and descriptive. The research strategy is to conduct a survey to identify and confirm the components and method of data collection، library study and combined review of data. The world-class analysis unit is unlimited in all areas of business and in terms of time. The qualitative data analysis of the research was done through content analysis. ADO-TCM method has been used to structure the process of systematic review of findings. Finally، in this research، eighty-six transformation models with 320 conceptual elements and processes of organizational transformation have been identified، integrated and framed.

The purpose of this research was to investigate the effect of elementary school architecture on social interaction, creativity and learning of students. This research was based on a qualitative method and by examining documents and researches, in the manner of a case study of the elementary school of Syedbar Jadgal village, Chabahar, in terms of its appearance characteristics and reasons for its special design, considering the social culture of the surrounding environment of the elementary school and its effect on the social interaction, creativity and learning of students. Checked out. Findings were obtained from newspapers and magazines and the interview of the school designer and the pictures of the primary school on the websites. And the analysis of the interviews was done according to the results of related researches. The results showed that the primary school was built completely in line with the social and cultural needs of the village people and increased the interaction of students with each other and their creativity and the number of hours they attend the primary school.

The trend towards symbols and signs in traditional architecture, contemporary architecture and even modern architecture has always been of special attention since the time of human cave dwelling and the study of the works of early humans for technical and functional reasons, symbols and paintings on the walls of caves have been done. During the evolution of mankind and with the establishment of schools, religions and cultures, this process continued throughout history, and in today's society, you can hardly find a place where there is no sign of symbols. This is especially evident in contemporary architecture. This research was carried out with the aim of recognizing the meaning of symbol concepts in the formation of the body nature of authentic traditional Iranian architecture and its effects on contemporary architecture. The research method was descriptive, field method using library and survey documents to extract and examine the role of symbols in contemporary architecture. The statistical population of the research is experts and university professors. Using a researcher-made questionnaire tool, research data was collected from about 250 people by simple random sampling method, using spss software and using linear regression test, the effect of dimensions of symbols in contemporary architecture was examined and tested. The results showed that geometrical shapes, colors, plant motifs, slimy and Khatai motifs, animal motifs and the elements of fire, wind, water and soil symbolizing the elements of the four fundamental states of matter have an effect on the formation of contemporary architecture.

Investigating the climatic characteristics of different regions and determining the type of architecture of each region based on statistics and climatic data is an inevitable principle, the important factor in architecture is man and his comfort. This research was carried out with the objective of factors influencing the type of architecture and climatic zone in the city of Ahvaz. The research method is the library and field method. To collect information, library and documentary sources have been used, and for a better understanding of library sources, field research has been conducted in the study area. Cosine law and tcic software were used to analyze the data. The findings showed that the criterion of orientation of the building with a weight of (0.20) is the index of its subgroups, respectively, access with a weight of (0.46), the connection between adjacent buildings with a weight of (0.42) and the slope of the land with a weight of (0.38) are ranked third. has it. It is also a measure of sunlight with a weight of (0.243), whose sub-set indices are, respectively, sunny hours (0.40), radiation angle (0.39), average temperature (0.36), are in the first to third ranks. Ahvaz city has special bioclimatic conditions due to its location in a special geographical location, topographical conditions and atmospheric systems affecting the region. So that the extreme heat causes many problems for the residents of this city.

Architecture has always been connected to fundamental thought in some way. It appears that the Sheikh Safi al-Din Ardabili complex, as one of the important centers of mysticism and Sufism, is also influenced by mystical ideas and concepts, which have impacted the formation of its architecture. The Sheikh Safi al-Din complex was constructed over various periods; however, historical texts state that Sadr al-Din Musa, the son and successor of the Sheikh, designed the order and structure of the mausoleum himself and was inspired to the architect through a dream. Therefore, it may be possible to recognize the connection of this complex's architecture with mystical thought and concepts. Examining the evolution of the architecture of the Sheikh Safi al-Din Ardabili's khanqah (Sufi lodge) and mausoleum complex reveals that this cultural and historical monument is one of the missing links in Iranian art between the 8th century AH and the first quarter of the 12th century AH, holding significant importance in studying the architectural developments of khanqah and mausoleum structures in Iran and the Islamic world. This article aims to investigate the development and historical transformations of the architectural complex of Sheikh Safi al-Din Ardabili up to the contemporary era. The present research is applied in terms of its purpose and historical, descriptive-analytical based on its nature and method. Although conventional research methods such as library research and internet searches were employed to collect information, observation, field visits, and studies have been the primary methods throughout various stages of the research. To align interpretations and perceptions with existing realities, the site was visited multiple times, and analytical and interpretive methods were used to analyze the information. The results showed that many valuable buildings in the Sheikh Safi al-Din Ardabili khanqah and mausoleum complex, which provide useful information in the field of archaeology and architecture of this religious monument, have disappeared. If they remain, they have taken on different forms over time and with changing periods. Comparing the current structures with the architectural spaces of the Safavid and pre-Safavid eras, as recorded in historical documents and the latest archaeological evidence, will prove the extent and former religious grandeur of this historical educational and religious institution during its peak period. Some architectural remains have disappeared, and their traces are hidden in the eastern and northeastern areas of the complex. In other words, although there is no precise knowledge about the extent of the complex during its peak period, it can be imagined that the volume of architecture and the current area of the complex, 135,320 square meters (excluding the organized and modern development and construction sections of the 1990s to 2010s in the northern and western sides of the complex), was more than twice the current extent.

Islamic art, particularly in the realms of architecture and related decorations, is characterized by unique and aesthetic subtleties. Decoration has played a prominent role in the history of Iranian architecture, maintaining its dynamism and continuity from ancient times to the present day. For example, Iranian artists, especially during the post-Seljuk period, utilized small turquoise-glazed tile pieces for buildings, and the Safavid era can be considered the pinnacle of exterior decoration of structures. In Islamic-Iranian structures, the dome is considered one of the most symbolic elements of Islamic architecture, which received significant attention during the Safavid period. Although dome decorations began prominently during the Timurid era, they reached their peak during the Safavid period. This study aims to introduce and examine the dome of the prominent Sheikh Lotfollah Mosque to further analyze and understand the Safavid approach and interest in this type of decoration. In the present research, a descriptive-analytical method utilizing library tools has been employed for analysis. The dome of Sheikh Lotfollah Mosque, both in terms of form and the harmony in its motifs and colors, exemplifies the best possible representation of the harmony between form and meaning. This dome is a tangible manifestation of the congruence between form and meaning in Islamic architecture.

The architectural complex commissioned by Gawhar Shad in Herat (820–841/1417–1438) constitutes one of the major foundations of the Timurid capital city. The site has sustained substantial damage over the centuries and very little is currently known about its architecture and decoration. Since the 1980s, access to it has been strictly limited due to the presence of landmines. This article aims to present the last archaeological surveys carried out on the site in recent years, and to introduce the first results of the study of the ceramic tiles collected on the “Musalla” and transferred to the National Museum of Herat in 2015.The implementation of archaeological digs would help us understand what this major monument of Timurid architecture was built on, to advance further in its restitution, possibly to find material within its context, and hence to go further in the restitution of the decorations of the complex, of the techniques used, and of the radiance of the remarkable artistic centre that was Herat in the fifteenth century.

The innovation ecosystem consists of a group of actors and dynamic processes that provide innovative solutions to new challenges. The main purpose of this research is to design a university-centered innovation ecosystem. For this purpose, ecosystem functions were first identified through literature review. Due to the limitation of As-Is data in Iran, interviews with stakeholders were chosen as a complementary technique. The second round of interviews were developed to identify the rules and processes of the ecosystem. The results of this study led to the choose Triple Layers core-periphery framework of innovation ecosystem called "Core-Platform-Development & Application". In this framework, the Institute of Health Technological Innovations is placed at the core layer, which is associated with these six platforms: Work Integrated Learning, Idea Generation, Entrepreneurship, Innovation, Shared Services, and Investment and Financing. Each of these platforms communicates with actors in that field at the Development & Application layer. After confirming the conceptual architecture with a triangulation technique, the ecosystem interaction model was designed & the results of the architecture in the case study were simulated by system dynamics method. For validation, the simulation results of the model under the two scenarios of continuation of the existing conditions and the establishment of the proposed architecture showed that the proposed architecture will clearly have a positive effect on the model variables in the future. Generally, the results obtained from the implementation of the model in favor of the implementation of architecture in the environment of innovation are studied in UT & TUMS

The basis of authenticity is culture; Culture is a clear manifestation of social life; Social life lies in communication with human beings, and human beings have a direct relationship with architecture. Architecture and culture are two sides of the same coin, so that architecture in any period is the expression of the dominant culture in society. In this regard, this study, with the approach of cultural studies and the method of logical reasoning, seeks to answer the following question: How and on what basis can cultural authenticity in architecture be explained and studied? This research was discussed with the approach of cultural studies and the method of logical reasoning and post-examination logic, after library and documentary studies to analyze the culture from the approach of Islamic realism and under it the perceptions of Allameh Tabatabai. In the following, interviews were conducted with 11 prominent Iranian professors. The concepts extracted from the interviews were coded and the topics of the written texts of the interviews were categorized and finally the model of cultural authenticity in architecture was abstracted from the perspective of Islamic thought based on the perceptions of Allameh Tabatabai. Cultural originality follows from the existence of constant and changing appearance, which in architecture is the constant and ongoing discussion of life and also the variable that will create physical and spatial structures.

India is a land that has been ruled by Muslim and Persian-speaking Mughal kings for more than three hundred years (1526-1857). Babur, the Mughal dynasty of India, used it by planning and utilizing cultural and artistic aspects to advance the goals and maintain the foundations of his government and his successors. Babar's support for artists was one of the reasons for the migration of artists, which influenced the growth of art and architecture in this period. The purpose of this article is Babur's role in the prosperity of art and architecture and his achievements during his reign as the founder of the Mughal Empire in India. The research results indicate that Babur, as the founder of the Indian Mughal dynasty, was familiar with the arts of painting, calligraphy and architecture. Accordingly, the main question of the present study is: What role has Babur played in the prosperity and cultural flourishing in the field of art and architecture? The present research has been compiled in a theoretical and historical way and using library resources and tries to study the role and function of Babur in the development of art and architecture and his artistic achievements

Art as a social phenomenon is formed under the influence of political, religious, economic, and cultural contexts existing in every society. This fact exists in the Timurid era (807-913 AH), which is considered one of the brilliant periods in the history of Iranian-Islamic art, and art was not a separate category from politics and religion; As during the time of Shahrukh Timuri, in the one hand, art was intertwined with politics and religion, and on the other hand, it was influenced by the multi-religious situation of the society of that day. Therefore, to understand the state of the art in this period and to examine the factors of its progress and stagnation, we must analyze its political and religious roots in the society of that time. The current research, with descriptive and analytical methods, while explaining the political and religious contexts governing the period of Shahrukh Timuri, aims to show the impact of his policies on the growth and stagnation of all kinds of art in that period. The findings of this research show that as a result of Shahrukh's support policies for architecture and calligraphy, based on the number of works produced and innovation in the styles used in each of them, it has progressed in terms of quantity and quality, and against poetry despite Quantitative growth turned into qualitative decline, and music and painting did not rise as they should have. This finding was obtained with a comparative approach between the common arts of this period.

The house, as one of the most important types of buildings, has always been a platform for social and cultural changes, and an important part of society's developments can be seen in it. From the end of the Qajar period and the beginning of the Pahlavi period, the architecture of houses in most cities, including Tabriz, was affected by social and cultural developments. Considering that most of the historical houses in Tabriz belong to the late Qajar and Pahlavi period, which coincides with the transition from tradition to modernity in Iran. In this research, the effectiveness of this transition on the evolution of the structure of houses was investigated from the perspective of architects. For this purpose, a questionnaire to measure the degree of impact (transition from tradition to modernity) in three components of historical houses of Tabriz, including spatial relationships, interior decorations and the main facade, has been prepared in the form of a five-point Likert spectrum and is available to architectural experts who have sufficient of this period were placed. The results show that there is a relatively significant relationship with the index of interior decorations in the course of this process. In the index of spatial relationships, a significant change is evident in the buildings leading to the first side, and in the third index of the main view of these buildings, no specific meaningful relationship is seen. What is worthy of consideration in this evolution is the greatest impact on the area of the arenas.

Examining the psychological aspects of Isfahan style poetry and architecture from the perspective of Alfred Adler and Carl Gustav Jung's theory.

In this article, common psychological aspects of Esfahani style (Indian) poetry and Esfahani style architecture have been investigated.

The research method is library and its type is analytical-descriptive. After examining the characteristics and common psychological aspects of poetry and architecture of the Isfahani period, we have come to the conclusion that in addition to the social issues that affected poetry and architecture in the Safavid period, some aspects of psychology in this period also affected the style of poetry and The architecture of this period has left an impact. Among other things, due to the spread of poetry and art among the people and its departure from the court, signs of extroversion can be seen in the poetry and art of this period, and its representation is paying attention to the intellectual and imaginative tastes of the public instead of considering the opinions of the rulers.

This can be examined in the form of the "social interest" component of Alfred Adler's theory. This caused the poetry and architecture of this period to become general instead of being specialized and customized and developed based on the intellectual, imaginative and emotional taste of the public. Another common psychological aspect in the poetry and architecture of this period is the attention to beliefs and opinions that are presented as archetypes in the field of psychology and can be examined in the form of Jung's theory.

This aspect is also a result of popularization of poetry and architecture, and during this process, the common beliefs and ideas and archetypes of the general public of the people were manifested in the poetry and architecture of this period.

In Iran, numerous researches have been conducted in the field of semantics and semiotics of the architecture of different periods, with different points of view, among which, the architecture of the second Pahlavi period is worthy of further and deeper research due to its fundamental intellectual and structural changes. In this research, relying on the theories of semiotics, while knowing more about the evolution of the architectural form in some significant works of the second Pahlavi period, an attempt will be made to identify and analyze the meanings and signs that can be interpreted in the architectural form of this period. In terms of content, this research is quantitative-qualitative, which has been done with a descriptive-analytical perspective, taking an analytical approach, with a semiotic approach and using the opinions and scientific opinions of specialists and experts in this field. The temporal domain of the research is the public buildings of the second Pahlavi period of Iran, which are selected in three separate periods after 1320 including the second Pahlavi period. The results of the research show that identifying the factors affecting the changes and developments that have occurred in the semiotic structure of contemporary architecture in Iran and explaining and investigating these causes and factors will greatly contribute to the identity of contemporary Iranian architecture. The distinguishing feature of the present research is to pay attention the semiotic nature of the works of the second Pahlavi period in combination with the quality assessment of the studies conducted in recent years.

Inland traffic has become a growing phenomenon for today's civilized society, which in addition to the movement of passengers, the desirable feature of the stations should be used. Due to the high volume of users of the subway and the long-term stops of passengers, stations have become an effective venue for urban daily activities. Considering the growing trend of metro expansion in Tehran metropolis and the increasing need for it, special attention is paid to the quality of the environment of stations The metro should be considered as a metropolitan environment for the social interactions of citizens. The purpose of this paper is to investigate and evaluate physical, functional and psychological criteria in the design of metro stations and the effect of these components on the quality of stations from the viewpoint of metro users and also provide a solution to improve the quality of space stations. The research method is descriptive-analytic research based on the survey and interview technique, questionnaire, and observation were used. The data obtained from the field method are quantitative and qualitative data. Qualitative data is the result of observation in the place or photographs and quantitative data obtained from the questionnaire and analyzed by SPSS software.