جستجوی مقالات مرتبط با کلیدواژه « حرکت » در نشریات گروه « هنر و معماری »

As a hypothesis is presented in this article: The motion of "Structure of Structures" is a factor that affected the movement of both sub-structures and arrays such as architectural ornaments. In the Abbasid era, philosophy was a macro-structure that penetrated other structures. In this epoch, some structures like literature, philosophy, Fiqh, and Kalam were flourished. Subsequently, Philosophy as a flourished structure had some effects on the motion of arrays. The "Nature of Faith" is an array in Islamic philosophy from a Hellenistic root that was activated by the movement of philosophy. The "Nature of Faith" was welcomed in Muslim societies, because it had similarities to Islamic principles. Jan Mukařovský as a theorist has believed that the motion of structure has affected the moving of other structures. Undoubtedly, the movement of philosophy had involved different arrays in early Islam. This idea has interoperated on ornaments of architectural space in the Abbasid era. Arabesque is an Islamic ornament that has two patterns; vegetative and geometrical. The article focuses on the vegetative pattern of arabesque that has been used in architectural space as a wall ornament. The paper aims to explain "Nature of Faith" as a reason for re-finding arabesque. The article's necessity is cognition of both theoretical and practical framework of re-finding arabesque in the Abbasid epoch. The research method is historical-interpretive, with three layers: description, analysis, interpretation in the argument part. The first layer narrates the theoretical subjects related to this issue. The second layer analyzes the received information in two phases. The primary phase illustrated the framework of the Nature of Faith in a pattern. The advanced phase set the analogical pattern for testing the hypothesis of this article. As proof for applying this method, the paper used the approach of Saussure in the Linguistics paradigm. The Linguistics paradigm has three patterns. The Semiotics pattern is one of these. The Semiotics pattern is organized of both Syntagmatic and Paradigmatic frames. This article paraphrases the Semiotics frames according to the form of arabesque as form analysis. The third layer interprets both form patterns and the structural framework of arabesque. The question of this research is: is there a relation between the "Nature of Faith" and the form of arabesque?In conclusion, when the structure of structures is moved, other structures will be moved. Islamic civilization in the third and the fourth centuries AH had faced a fact that had changed the structure of both philosophy and science. This change has had been based on variable changes that their effects in other subjects like arts are illustrated. Architectural arrays got impact from it as well. Undoubtedly, arabesque had declined until the Abbasid era. At this time, arabesque as a microstructure, like art was affected by other structures and motion. Re-finding the arabesque had two roots. The first root was influenced by Greece civilization (palmette). Another root was related to Iranian architecture, especially the Sassanid architecture. The structure of the theory of arabesque is like the "Nature of Faith" in terms of three points of the "nature", "motion" and "exportation". Thus arabesque's motion in this period would have been the face of the motion of the "Nature of Faith" as structure. The hypothesis of this paper is related to the following facts. First, the "Nature of Faith" is similar to the arabesque as structure and motion. Second, the movement of structures had affected the re-finding of the arabesque in the Abbasid epoch. Third, the essential sources of "Nature of Faith" that are "nature", "motion", and "exportation" had influenced the theoretical structure of the arabesque. Significantly, the fact of the export of "multitude from the monad" in the foundation of the "Nature of Faith" is the most similar to a theoretical form of the arabesque. A reason for confirming the hypothesis of this paper is a form translation of the arabesque to the theoretical base from philosophy in three objects. The Point, Line, and Surface are three essential parts of the arabesque that can have a similar reason to the "multitude from the monad". In arabesque, movement starts from a point, and the point is the first unit. This movement from the point eventually turns into a line, which is also composed of the same components of the point, but has a different structure. The line moves upwards in a twisting motion and shows a sign of growth and excellence. The line moves in the opposite dimension and forms the surface that is the ultimate arabesque form. This surface also consists of the components of the exact first point and it is a manifestation of the same character in another form. Finally, the article illustrated three patterns, and three forms for the effect of the Nature of Faith on the moving of arabesque.

Cinema is one of the most important phenomena of the modern age. Cinema is a way of seeing, that is not solely dependent on the human eye, rather it is capable of manipulating all human senses so that it affects thought and perception. The simultaneous development of cinema and modern architecture in late nineteenth century instigated important changes in thought, experience and progressive lifestyle, and became an indication of the close relationship between these two arts. In this context, the French philosopher Gilles Deleuze offers a different world-view based on a redefinition of the concepts of movement, image and time. This research, which was carried out with a theoretical, qualitative, descriptive-analytical approach, proposes Deleuze's unique definitions of image, movement and time as a means to illustrate the close relationship between cinema and architecture. The paper begins by explaining how cinema, architecture, or any other art, can be ways of thinking and creating new concepts. It then shows how Deleuze combines philosophy and cinema to define three types of movement: “Movement and Instant,” “Privileged-Instant/Any-Instant-Whatever,” “Movement and Change.” He goes on to categorize the “Movement-Image” into three types: “Perception-Image,” “Action-Image,” “Affection-Image.” In this theory, everything is an image. In other words, all the components and events of the universe are a collection of images that interact and react to each other. These interactions occur in the context of time, resulting in the concept of “Time-Image” and “Movement-Image.” Time for Deleuze is the life force for movement and becoming. Time is nothing but the present, or the present that has become thought. The concept of “Time-Image” is a challenge, with the aim of thinking about the potential of the flow of time. The image is not always in the present, but at different levels of time, past and future. In the concept of “Time-Image,” time shrinks and expands in relation to the past and the future. These concepts offer an alternative understanding of the relationship between philosophy and art and our perception of the world.  In this philosophical approach and according to such definitions of image and time, there exists a much closer relationship between cinema and architecture. The concepts of Movement-Image and Time-Image can be defined as fundamental concepts of both of these arts. The three concepts of Perception, Affection, and Action and the intertwining of Time components with them, can be appropriated for architecture, thus changing our understanding of architectural space and design. By defining and redefining concepts in cinema and architecture, Deleuze develops a new way of thinking in which art, philosophy, and science together form the story of life. In this alternative mode of thought, everything is image, and everything in the world is a set of images that affect and react to each other. When reality is composed of images that, in combination with movement and time, create feelings, actions and complex human concepts, then the value of art, especially cinema and architecture, gains a new significance due to the fast that this era has become more dependent on images.

At the same time, the architectural space creates a feeling of dissatisfaction in the audience, which leads to people leaving the space and unwillingness to attend. Identifying the factors that create the movement hierarchy in the building has an effective role in advancing and spatial diversity. These concepts (hierarchy and movement) have been discussed in Iranian philosophy and mysticism. Now this question is raised that the tomb building of a mystic like Sheikh Ahmad Jam has been in the process of changes in the series of movement levels and its connection with the concepts of movement and hierarchy in the philosophical concepts of Iran. The following article is descriptive-analytical and data collection was done through library and document study. The findings of the movement hierarchy research were categorized into 7 principles and each of these stages into 4 movement orders for the tomb, and it was shown that physical to meaningful movement should take place in each stage so that the human mind can be prepared to climb to a higher stage. The theoretical bases of the research were categorized into four architectural factors, including functional, semantic (decorations, proportions, symbolism), visual (light, surface difference, rhythm) and physical (geometry, axis, sequence). The results of the research showed that the presence of movement hierarchy in the complex causes the formation of this complex behind the architectural ideas of this building in the city and promotes the audience to attend the cemetery.

The entrance of traditional houses, like many other historical buildings in Iran, does not separate outside from inside with just one door and is more of a combination of components and spatial organs. Unlike some types of Iranian architecture, such as mosques and karvanserais, the entrances to traditional houses are not legible or facilitative. The fact that one of the purposes of this effort was to provide privacy has been discussed many times, but this study examines the factor that has been less addressed: time. The purpose was to examine the time duration required to enter and see how the fourth dimension was present in the design of the threshold and entrance space and how it could contribute to the provision of privacy. In total, 37 traditional houses from all over of Iran were selected and their data were taken from drawings and documents. The research method is a comparative comparison; the dimensions and proportions of traditional houses are observed as dependent variables and through quantitative and statistical relationships, their relationship with the time variable- as the independent variable - was tested. Three stages of data analysis were performed. In the first stage, the correlational analysis between aforementioned variables was investigated. The dependent variables that were predominant in this test, were further studied in ANOVA test. Furthermore, the uniformity of distribution was inspected and a follow-up test of LSD was performed. Finally, the variables that had a significant relationship with the Time, were analyzed by independent t-test to determine significance time groups. The findings show a significant relationship between the entrance time and the total area and functional used percentage of the house, which can indicate the use of the role of the entrance space as a factor in providing physical security. Moreover the correlation between the entrance time and the complexity of the entrance space and house decorations can indicate the use of the time factor, for perceptual preparation and to remind the guest, the difference between the outside and inside world. Both findings clearly show that the time interval created in the entrance space has been considered by the designer and architect as a factor to ensure perceptual readiness and more privacy within the space of traditional houses. As a result, the spatial and metaphorical potentials of the threshold and entry space are well-used in the design language to meet the physical and nonphysical requirements of the building. The researcher hopes to show how familiarity with the details of daily life, helps the traditional architect to be able to combine properly religious, social, personal and family life in his plans and designs. According to the researcher, “arrival time” has been designed and controlled in a “non-verbal” way, by creating distance, rotation, deviation of direction, change of visual space, creating mystery, movement, and other methods. It seems by designing the entrance space and creating some time delay in there, architects practices a smart “non-inversional” way of design for the remind mental “adaptation” of the guests, and “preparation” of the family.

Rhythm generally is the repetition of patterns regularly occurring in the phenomena and processes. This concept is understood well in music. The regular succession, tempo, repetition, and harmony are the familiar words that have always been heard. However, rhythm is beyond its audio or visual representations, and it has been studied in philosophy, art, sociology, psychology, human and urban geography, urban design, and architecture, showing its polymorphic nature. Explaining a cohesive framework of the aspects that implies the rhythm and provides new interpretations of rhythm are the focus of the current study. Therefore, the present research aims to answer the following questions: A) What are the aspects of rhythm? and B) How are they manifested in the architecture?In reviewing the literature, a chronological view has been adopted to determine the change in the concept of rhythm by experts in various scientific fields until the beginning of a new era of scientific research by Henry Lefebvre. Among the many experts who have conducted researched on the concept of rhythm and its characteristics, the views of four scholars were selected for formulating the theoretical framework. Those experts include Henry Lefebvre, Irwin Altman, Carol M.Werner, and Mattias Kärrholm. The reason for selecting these experts was that they had an interdisciplinary view in studying rhythm and also their fields of studies are related to architecture, culture and build environment. The aspects of rhythm were extracted and classified from these experts’ opinions.The research method was qualitative based on the logical reasoning approach. Data were collected through participant observation and semi-structured interviews with various school users. The research participants were ten permanent staff of the school (as the representative of the different groups of the school users) selected using the purposive sampling method and theoretical saturation criteria. These participants were: manager, human resource manager, staff of the human resource, manager of the cultural affairs, the executive deputy and support, library manager, the authority of the twelfth grade, photography teacher, service sector staff, eleventh-grade student. Analyzing the text of the interviews was done in three steps of Strauss and Corbin’s systematic coding process (open coding, axial coding, and selective coding) using Maxquda 2020, a qualitative statistical analysis software, to extract the activities and repetitive events of the users in the school.Results showed that intrinsic feature of rhythm is spiraling movement, manifested in the form of aspects of succession (accepting change over time), duration (continuation in time), speed (slow and fast), temporal salience (existing of qualitative and distinct moments), synchronization (Simulating the behaviors and movements of the people in social links). The movement concept can be seen in all aspects of rhythm. In Tazkieh school (Tehran City, Iran), Succession is understood by moving through stairs and different spaces in each floor, and also objective of sun movement during the day. However, daylight in school interiors does not have much effect due to the use of thick curtains to solve the problem of hijab. Succession in relation to erosion of surfaces in any building is a gradual change, indicating movement. This succession occurs in all buildings and its speed is inversely related to the quality of materials and their durability. Users' spatial experiences of daily activities and events in the school, religious, and national annual calendar indicate socio-cultural dimension of duration. Physical manifestation of this aspect of duration is in architectural elements, such as decorations, symbols, and architectural style. The instance of speed is defined by activity types occurring in a place and varies time to time. Mental perception of time is related to the rapid or slow occurrence of activities and experiences in a place that are changing over time. Each place, depending on its function, is host to certain activities that are regularly repeated. The example of a place with different speeds is obvious in the School. For example, the speed of classrooms is adjusted and changed by a mechanical clock between a quiet place during teaching and a fast place during break time and art workshops. The lived experiences and memories of school users of activities, events, and their locations in the school emphasize the temporal salience. Teaching behaviors and their repetition by students in social connections, such as events and ceremonies, is a clear example of synchronization.

In the Persian traditional painting, we confront a special view. It changes the coordinates of our visual comprehension in order to abshact from matter and representation of realities which are cryptographic behind that, and it changes the known rules of seeing and accepting. In a fantastic atmosphere such as Persian painting, there is a special system which the whole of qualities are affected by it. The “Movement“ as an important element is one of those elements. Persian painter who is affected by rich Persian philosophy and literature, notes the “Movement” as an important matter and although he hasn’t any tools for actual ideogram of “Movement“, he tries to express his sightly moves in 2D paper, that’s his equipment in best conditions. All of the exaggerates and stylizations which applied on the human figures are special movement creators. One of the leading Iranian painters who has embodied spaces full of fantasy and pure imagination in his paintings, Sultan Mohammad Naghash, is one of the painters of Tabriz II school. This study tries to examine these images of motion fantasy; The author’s question is: “In what form and style are the animated effects in the human characters of Sultan Muhammad’s works manifested?” The purpose of this study is to achieve a meaningful structure and purposeful method in drawing human figures and also to achieve a coherent and generalizable method in the body of contemporary Iranian visual arts. The research method is based on the descriptive-analytical study of Sultan Mohammad’s iconography and adopts a two-way structuralist-semantic approach. The result of this study is to understand and receive the method of exaggeration and special transformation of Sultan Mohammad in drawing the figures based on the intended meaning of the drawing and predicting the way of movement for the mentioned figures.

In the Persian traditional painting, especially schools during the 4th to 11th centuries A.H, we confront a method of attitude. It changes the coordinates of our visual comprehension in order to abstraction from mater and representation of realities which are cryptographic behind that, and it challenges the known rules of visual intake and accepting. In a fantastic atmosphere such as Persian painting, there is a special system which the whole of qualities and quantites are affected by it. The “Movement“ as an important element is one of those elements. Persian painter who is affected by rich Persian philosophy and literature, notes the “Movement” as an important matter and although he hasn’t any tools for actual ideogram of “Movement“, he tries to portray his sightly moves in 2D paper, that’s his equipment in best conditions. All of the exaggerates and abstracts which applied on the human figures are special movement creators. One of the prominent Iranian painters who has embodied spaces full of fantasy and pure imagination in his paintings, Sultan Mohammad Naghash, is one of the painters of Tabriz II school. In this research, an attempt has been made to examine these images from the perspective of movement fantasy. The author's question is “how the animated effects of human characters in the works of Sultan Muhammad are expressed?”. The purpose of this study is to achieve a meaningful structure and purposeful methods in drawing human figures and also to achieve a coherent and generalizable method in the body of contemporary Iranian visual arts. The research method is based on the descriptive-analytical study of Sultan Mohammad's iconography and adopts a structuralist-semantic two-way approach. This research has led to understanding and receiving the method of exaggeration and special transformation of Sultan Mohammad in drawing the statues based on the intended meaning of the drawing and predicting the way of movement for the mentioned statues.

Włodzimierz Staniewski is a reputable director of the recent years with a style of his own, and also the founder and artistic director of the Polish Gardzienice Theater Company, whose performances such as "An Evening Performance" 1977, "Sorcery" 1978, "The Life of Archpriest Avvakum" 1981, "Carmina Burana" 1990, "Metamorphoses" 1997, "Elektra" 2002, "Iphigenia at A…" 2007, "Iphigenia in Tauris" 2010, and "Pythian Oratorio" 2013 have captured the attention of many artists and researchers in the field of performing arts from all across the world. According to many theoreticians and researchers in the field of theater such as Paul Allen, the significance of Staniewski's creations is most of all latent in the movements of the actors and the forms of motion in these creations. Identifying the components, resources, roots, and origins that form the movements of the actors in the Gardzienice theater company, as well as the quality of the arrangement of these motions for theatrical performance and their accomplishment in connecting with the audience throughout the performance process can add to the knowledge of actors, directors and artistic motion designers and result in the production of higher quality performances for those that strive to base the creations of Staniewski as a model for their artistic creations. According to the research conducted in well-known national libraries and internet citation databases, there are not any documented books, theses or articles regarding the subject of the present article. However, a number of books, articles, theses, and interviews are available which have considered and investigated other dimensions of the Gardzienice Theater such as Staniewski's opinions and comments, the interactions between members of the Gardzienice group, the history of the formation and development of Gardzienice Theater, the relationship between Staniewski's Theater and Grotowski's Paratheater, Staniewski's biography, etc., all of which have been used as previous literature for the present article. The present article has attempted to present suitable, sufficient, and referable answers to the question that: From where does Gardzienice Theater provide the raw material for its movements and what elements does it use as raw material? Along with this main question, other secondary questions are also answered that each beneficially contribute to increasing the knowledge of those who read this article. The method used in this study is of the descriptive-analytical type and the required data were collected from library references and valid internet databases. The most important achievements of this research consist of the Greek "Cheironomia" and "Gesticulate", the Indian "Samaweda", the behavior of Mexican "Tarahumara" Indians, and the body language of Polish gypsies as part of the origins for the creation of movement in Staniewski's theater. However, these resources are not utilized separately and in an unprocessed state, and the execution team of Staniewski's theater dedicates most of its rehearsal time to forming and developing the motions of its performances while improvisation and native, national and international music assist the Gardzienice group.

Thematic analysis has been used as a qualitative method for data analysis in various fields, especially psychology, behavioral sciences, health, and sociology. However, this approach, which emphasizes the content of the text, and views language as a direct and transparent path to meaning, has been less applied in the field of architecture and urban planning. Thematic analysis is a flexible theoretical approach, easy to learn, able to summarize data, and so on. Hence, it can be applied to a wide range of qualitative environmental studies, particularly to understand the users’ perception of the environment, which shapes their relationship with the environment, by classifying the meaning patterns within the data set. Using this approach allows provide an in-depth description of the data, and to highlight the similarities and differences between the data, thereby enabling the creation of rich and complex data. The present study introduces the thematic analysis as a flexible method, through a sample study undertook this method, and describes its six steps, including familiarizing with data, assigning preliminary code, searching for themes, reviewing themes, defining and naming themes, and finally, producing a report. It explains how the thematic analysis is used in built-environment studies. The study presented as a sample attempts to identify the meaning experienced by people in the architectural space. It strives to answer the following question, "What aspects of meaning are perceived when moving through a built environment?" The aim was to focus on the influence of physical properties on the users’ experiences of the environment to obtain useful findings for architects and environment designers. To identify the widest possible range of capabilities for movement and the possible experiences obtained with them, an interview was designed using “phenomenological ethnography” approach, in which students and staff of an academic campus were asked to respond to the questions of a deep, qualitative interview ‎when moving on their daily paths in the campus. Each participant was asked to move, along with the interviewer, on his/her daily main paths, express his/her thoughts and feelings about the path. Each interviewee were also asked to take photos of the phenomena affecting route selection, and explain why and how they affect. The thematic analysis of the interview content reveals eight meanings of efficiency, convenience, legibility, sense of belonging, agency, invitingness, attraction, and beauty, which can be summarized under 3 themes of physical comfort, involvement, and making sense (being apprehensible). These themes explain the main meanings experienced by people during movement between and within buildings. The findings show that some of the physical properties of the path clearly lead to the experience of certain meanings. Based on these findings, users experience efficiency in short, direct, and simple paths with minimum barriers. Paths with multiple accesses and amenities provide more convenience. Distinct paths with clear boundaries and adequate signs are easier to remember. All of these properties of a path provide an experience of physical comfort for those who move through the environment. The findings, on the other hand, suggest that navigable paths, containing reference points can be easily understood and remembered, and therefore, affored legibility. Other properties of the path that make it private, familiar and friendly, or make people feel more comfortable in it, allow for a sense of belonging. Together, these qualities of legibility, familiarity, friendliness, and the like enhance making sense of the environment for users. Finally, according to other part of findings, individuals can engage and involve in environments (identifying themselves as part of environments) where they, in addition to feeling more sense of invitation, experience agency that results from a greater sense of control over the environment through visual access and so forth. Crossing paths that have pleasing aesthetical qualities, and arouses individuals’ positive emotions, yield similar results and increase the involvement in the environment. These results can be used to design environments that are more favorable to users, and could help to create the desired architectural spaces for them by considering the attributes that provide physical comfort, the qualities through which individuals make sense of their settings, and those that more strongly attract and involve users with their built environments. Moreover, the process of thematic analysis, introduced in this article, can be applied for analyzing contents in similar qualitative research in the field.

Laura Mulvey is a prominent figure in film theory from 1970s. Her work is particularly remarkable, though controversial, in regard to feminine appearance on the screen.Stasis is central to Laura Mulvey’s film theory. In her essay Visual pleasure and Narrative Cinema (1975), she criticized the role of patriarchy in Hollywood cinema. Mulvey suggested the theory of Patriarchal gaze based on Lacan’s Gaze Theory. She states that the presence of woman is an indispensable element of spectacle, yet her visual presence tends to work against the development of a story line, to freeze the flow of action in moments of erotic contemplation. In Death 24X a second: Stillness and the Moving Image (2006), she points out that now she is more interested in the way that those moments of spectacle were also moments of narrative halt, hinting at the stillness of the single celluloid frame. In fact with the advent of the digital cinema, the photographic base of cinema come to the fore. Mulvey tries to reformulate the idea of spectatorship through the perspective of time. She indicates that the everyday reality that video and digital media have opened up new ways of seeing old movies reveals up the significance of the dichotomy of stillness and movement. In fact, the use of new technologies results in the possibility of returning to and repeating a specific film fragment. Return and repetition necessarily involve interrupting the flow of film, delaying its progress, and, in the process, discovering the cinema’s complex relation to time. Mulvey is the first person to link Abbas Kiarostami’s Cinema to the Lacanian concept of the Real. She explains that Kiarostami’s unrepresented tragic earthquake is the same as the manner of the Real which is invisible, but has a significant presence. She argues that the tragic earthquake which destroyed the village is left intentionally unseen, unrepresented by Kiarostami in the following two films. The lack of any kind of re-enactment creates a situation where the actuality of the invisible yet traumatic is unquestionable- exactly in the same manner as Lacan describes the order of the always hidden Real that is behind or beneath any phenomenal appearance accessible to direct experience. In addition, representation of the gaze is considered the result of the style of a filmmaker who is best known as a self-reflexive filmmaker. This article discusses the Cinema of Abbas Kiarostami through a Psychoanalytic perspective based on the contradiction of stillness and movement in Mulvey’s film theory. The main issue to discuss is that how Mulvey considers the cinema of Kiarostami as delaying and immobile while his use of car and consequently movement is a persisting feature of his cinematic oeuvre. The result is that Kiarostami‘s cars respond to a relational conceptualization of space in mobility and breaks away from the conventions of representation in which space is considered fixed which carries specific and symbolic meanings. However, the sense of mobility emerged from a wandering car ends up to stillness through repetition and return that affect the spectator’s memory.

Raqqa, as one of the most important art Syrian centers in the 12th and 13th centuries AD, is considered a milestone in the art Ayyubid period. The study of the so-called Raqqa, In museums around the world, Shows the unique features and evolved into the designs motifs. Especially in how to draw animal motifs, have a more naturalistic approach than in the past. Syrian artists in addition to realistic drawing style, have try to use more effective measures to draw more dynamic visual motifs. There Two different approaches to the design of animal motifs Raqqa. In both cases, the display element, as the most prominent feature is. The study of these two styles of type design as markers of stylistic expression, is the main thing in this research. In this research Collecting information is based on documentation, And countless examples in the report based on the study of archeology and collections in museums, reserved.

The study on problem of motion in the film or motion picture and its perception, is one of the important issue in the context of film theory. Among film theories, a third kind of film theory has grown up: cognitive film theory that deals with issues like this. The prevailing view in film theory is that motion in the film is perceptual illusion. In this research, using by the library collection, and qualitative analysis method, I present a formulation for motion in the film by using Ibn Sina's philosophy (especially his perception theory) as philosophical base. The results of this study shows that Currie's formulation is for rejection of illusion and is not a positive formulation. But I show that in the context of Ibn Sina's philosophy, there can be a positive formulation for motion in the film. Also, this research shows that that the Islamic philosophy field has the ability of philosophical discussion about film.

The question of ‘space’ is among the challenging issues in scenic design. Taking a new approach to the issue of space as well as structure of the performance, the Bauhaus theater provided new definitions in the 20th century. Through proposing his theory as well as his distinctive performance in the Triadic Ballett show, Oskar Schlemmer, a pioneer of the school, introduceda space which can be studied in its different aspects. It seems that identification of the ‘geometry of space’ in this performance can be inspiring for modern performances. Therefore, the present study aims to explore the way Schlemmer treated space through investigating threeaspects of the Triadic Ballett. Considering the importance and centrality of geometry of human bodyin the artist’s ideas, the ‘geometry of body and related shapes’ is the first aspect to study. Body, as the parent shape from which all shapes and forms in the outside world are born, is decomposable into various shapes and volumes. Moreover, there is an invisible space between body and the surrounding world, to which man is attached. The second aspect to be studied for the recognition of the space is the ‘motion of body’ or shapes that makes the image of this invisible space somewhat visible. The identity of volumes is determined by motion on different axes, emphasizing on the significance of man’s communication with his surroundings. Having a variety of motions, the Triadic Ballett is indicative of different aspects of the performer’s lines of communication with his environment. The third aspect of the geometry of space involves ‘scene and light’which creates visual diversity, and,having undergone some simple changes, is in consistence with the performance and its fundamental concepts. Scenic designis a part combined with other aspects of the performance and subtly narrates the performance message. The geometrical aspects of the performance can be studied through focusing on the mentioned items.

In addition to his revolutionary philosophy and his fundamental criticism on psychoanalysis to which he owes his fame, Gilles Deleuze, the great philosopher, devotes an important part of his thought to formulating the ontology of cinematic image and hence turned out to be known as the only philosopher of cinema. Thanks to the multiple classifications of images and creating philosophical concepts for cinema, Deleuze in his two cinematic books namely Cinema 1: movement-image and Cinema 2: time-image reshapes the relation between the world and cinematic eye and therefore turns his works to something more than mere cinematic books through focusing on the category of time and movement. The first book deals with the issue of movement and explores the works that provides an understanding of movement-image. The second book speaks about the issue of time and shows that modern cinema can provide an understanding of time-image. In addition, in these works, he deals with diverse conceptions such as montage, decoupage, shot and … and argues that we should understand these concepts in terms of philosophy, and then he compares them with mechanisms of the world and human perception. It can be said that Deleuze tries to eliminate the gap between cinema and thought, on the one hand, and cinematic world and real world on the other hand. This brings his cinematic approach to the extent that recognizes cinema and image as immanent in the world and being. At the end of the second book, he states the question of “what is cinema?”can be replaced by the question of “what is philosophy?”, because cinema is a function of images and symbols which it's theory of philosophy should be developed as conceptual practice and action and that no areas including semiotics or psychoanalysis has adequate competence to create concepts that are specific to cinema. For Deleuze, cinema as a pure form of thought is different from other arts. In fact, cinema possesses autonomy and special features that give to it a privileged position. The singular idea of cinema obtains through creating images and hence, does not need something else. In the matter of time, Deleuze follows Henri Bergson who believes that time is not quantitative phenomenon but a qualitative one that during its contractions and expansions, encompasses the whole world. This makes Deleuze's approach as meditations about essence of life and world. Therefore, although Deleuze is indebted an important part of his philosophy to the thinkers such as Nietzsche and Spinoza, in argument about cinema, Bergson is the only influential and lasting thinker on his work. Using Bergson's concepts like duree, elan vital and … Deleuze considers cinema as a field of immediate manifestation of movement and time which exceeds or go beyond a mere aesthetic art. In this study, by explaining Deleuze's interpretation of Bergson's concepts attempt is made to reveal the profound impact of Bergson on Deleuze's cinematic ontology despite his outspoken opposition with cinema. Explaining Deleuze's interpretations of Bergson, we finally demonstrate how Deleuze through Bergson, regards cinematic perception as the only perception of the world

Knowing the characteristics of the architecture is required for assessing its physical components - generally called “mass” - and understanding of the characteristics which are accomplished in the presence of “non-mass” -that is called space-. Architecture is not independent of the existence of mass and space; the different qualities of architectural spaces are formed by different ratios of the mass and space concepts called mass – space system. Indeed، the architectural mass - space system creates architectural spaces with different qualities by creating physical - cognitive and physical – functional structures. Therefore، the recognition of the mass - space system and its characteristics can improve the knowledge of designers and architects about the quality of architectural space and place. In the architecture literatures of the past century، space and place terminology have been widely used. The meaning of these two words are sometimes so close together that have almost one meaning and sometimes they are completely distinct، sometimes they have specific meaning، and sometimes they have a complex، mental، cultural and unclear concept. Different definitions presented for these concepts in the fields of philosophy، science، phenomenology and psychology show that there is a fundamental relationship between space and place. Evaluation of concepts show that space is an abstract concept compared to the place، that means space is a location and area for things but the place is a space combined with the human characteristics. According to these hypotheses This article attempts to explain the fundamental and effective role of the mass - space system in the quality of place: a. The mass - space system is a fundamental concept which is the origin and the foundation of architecture، b. Mass - space system causes illustration of the physical and conceptual characteristics of architectural works as well as providing structure of place and c. Mass - space system over time by creating physical - cognitive and physical – functional structures provides activities and meanings of the place therefore causes it to be manifested. In order to explain the hypotheses، firstly mass - space system is evaluated and its components are explained، and then the main components of the place are proposed and components of architecture and place are compared and interpreted. The methodology of this study is based on descriptive - analytical method and logical reasoning and is based on the investigation and analysis، comparison، interpretation of related documents. Finally، this study shows that three characteristics of “restriction”، “circulation style” and “proportion” that are resulted from the mass - space system، reveal the quality of architectural place. Actually، the mass - space system is a collection of two main parts of matter and idea that matter refers to amorphous and non-limited area، which have the capacity of accepting the architectural idea and the idea introduces the structural relationship between meaning and function. Despite the fact that the architectural matter is generally known to be physical subject، based on the presented definitions of mass – space system، even the amorphous space is the matter، so when the architectural idea influences amorphous space and mass، then these concepts obtain form and shape and mass – space system is created as a mental subject as opposed to the mass. In addition، knowing the architecture effect means the study of physical properties of mass and cognitive properties of space. In other words، all physical and metaphysical features and capabilities of the architecture cannot be attributed to the space concept.