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

Urban spaces play a vital role in shaping human behaviors and social interactions. Despite being man-made, buildings and spaces have a significant impact on both individual and social behaviors. The presence of security is essential to ensure a lively and dynamic city where residents can make use of public spaces and participate in social activities. Security is considered a fundamental human need, ranking second in importance according to Maslow's hierarchy of needs, following physiological needs. Factors affecting urban security can be categorized into physical groups (including environmental and human-made factors) and non-physical groups (encompassing background and social factors). Physical spaces can reinforce norms, enhance feelings of security and comfort, or contribute to mental distress within society. Urban scholars and experts argue that by implementing urban planning principles, crime, and criminal activities in urban areas can be reduced or prevented, thus enhancing the city's and its residents' security.

The main goal of this ongoing research is to identify the morphological criteria that influence urban space security and examine their impact on safe and unsafe areas. Therefore, the research focuses on identifying and evaluating effective morphological criteria for urban space security to provide morphological recommendations that enhance public space security. The methodology of this applied research is descriptive-analytical. Through library studies, analysis of relevant sources, examination of scholars' theories, and data screening, a new classification of dimensions, components, and indicators of urban space security was presented. Also, based on the research goal, a configuration approach (architectural-based) for analyzing selected areas was considered.

The research area encompasses neighborhoods within District 22 of Tehran Municipality. By utilizing the most recent data from the Law Enforcement Organization, crime reports, incidents, and resident interviews, high-crime areas were identified. These areas were then mapped out as crime hot spots using GIS software and the kernel density method. Based on these maps, a section of Sharif University's neighborhood known for its high security, and a segment of the Sadra neighborhood, identified as an unsafe area, were selected as case studies for this research. To examine the designated indicators and their influence on security levels in the study area, in such a way that it also deals with morphological indicators, techniques like "Space Syntax" and "Urban Network Analysis" (UNA) were applied utilizing software such as "DepthMap" and "ArcMap".

The findings indicate that the examined morphological factors (including street visibility, accessibility, spatial geometry, clarity level, visibility, and surveillance capability of space) have a significant impact on public space security. The objective of this research is to improve the security of the analyzed areas, particularly the unsafe zones, by proposing location-based strategies and recommendations through the development of a visual map. These strategies, based on the principles of "Crime Prevention Through Environmental Design" (CPTED) theory, include Territorial Reinforcement, Natural Surveillance, Access Control, Target Hardening, Maintenance, and Activity Support.

No one is immune from climate change, and it is a global challenge that casts the biggest shadow on cities. The IPCC's 2021 Sixth Assessment Report calls for action to reduce the magnitude of climate change (Mega, 2022). Climate changes caused by urban development affect not only temperature changes but also other climate parameters such as precipitation, humidity, and air quality, and lead to long-term changes in the microclimates, which is one of the influencing factors. The shape and texture of the city aims to reduce the temperature of the city and reduce the energy consumption of the city (Pour Amin, Behzad Far & Rezaei Rad; 2022). The aim is to explain the conceptualization of urban morphology and its effect on the amount of energy consumption and its result in the formation of climatic patterns through the review of joint research methodology between the two theories of climate justice and urban morphology with the approach of reducing energy consumption. Therefore, it is necessary to answer the main question of how the methodological processes and applied methods are used in the two parts of information gathering and statistical analysis in the studies of this field.

In this article, the methodology of the previous research was analyzed using the meta-method. After determining the main research question to collect the primary research information based on PRISMA order, selected articles from 2015 to 2022 that had more appropriate methodological structure and theoretical coherence were reviewed and screened. Then, the selected articles were analyzed by coding and coding using Saunders research onion model and content analysis using meta-analysis method.

Finally, to analyze and combine the qualitative results, the sequential explanatory design method was used to combine quantitative and qualitative data. Then, using MAXQDA text analysis software, the categories and codes of the articles were extracted to identify the types of analysis methods and tools used for each variable. Of the 89 articles and dissertations, 30 articles were selected that were close to the research topic. The analysis methods and instruments in these articles were coded using the Code Relation Matrix. Saunders' research onion model was used to determine the nature of the targeted analysis of the articles (Saunders, Lewis, & Thonhill, 2007). The philosophical system of research relates to the theoretical discourse of positivism with objectivist ontology and epistemology through visual senses, experimental, or comparative analysis.

The research strategy is the type of basic studies with the comparative approach of hypothesis testing, where 40% of the articles used the quantitative research method, 33% used the qualitative method, and 27% used the mixed method. Collecting information according to the quantitative weight of data is based on the paradigms of positivism and meta-positivism, with analogical and inductive approaches that include various experiments and surveys (Creswell, 2016, 36). Therefore, a number of common analysis components and methods were found in the reviewed articles. Then, a meta-analysis of the combined modeling of the role of urban morphology with the approach of reducing energy consumption in line with the premise of climate justice was discussed, which was obtained from the results of MAXQDA qualitative analysis software. In this conceptual modeling, the constituent components of each variable and their analytical tools, obtained according to the research topic based on the results of the analysis of the reviewed articles, were discussed.Examining the methodological gap in research:· Lack of clear and consistent definitions for research variables due to the scope of the topic.·Lack of access to accurate statistics and climate databases in the Middle East, especially Iran.·  Lack of access to the amounts of energy produced and consumed in buildings and transportation that contribute to heat island formation.

In this research urban morphology is influenced by climatic, social, cultural, economic and geographical conditions in a reciprocal relationship, and energy consumption. According to the studies conducted by meta-analysis of selected articles, more than 60% of the articles were quantitative and mixed, mostly quantitative with experimental and survey strategies. Through meta-analysis of selected sources, this article attempts to provide a variety of experiences in an understandable range for researchers in urban design and planning to identify differences and similarities based on certain criteria.

The collection of graves and cradles is a collection of short stories by Gholam Hossein Saedi, which was published in 1345 and has been written in three short pieces, which are: Bee House, Shadow to Shadow and Garbage. In the stories of this collection, the most hidden behaviors and the most unspeakable human behavior and material are expressed with a very dignified pen and prose. The characters in these stories are captives of poverty, corruption, misery, and limited sexual pleasure. Saedi, who belongs to the lower classes and strata of society and witnessed the migration of peasants and unemployed villagers to the city and living in Halabiabad, in this series intends to represent the dangers lurking in the way of these unbridled migrations, can Create an obstacle and at least give a warning (Mehdipour Omrani, 132-3: 1382). In the following, the structure or morphology of the stories in this collection is examined based on the narratological theory of Tzutan Todorov.

This research has been done by descriptive-analytical method and based on library data retrieval.

The research findings show that in the study of structural analysis of Gholam Hossein Saedi's stories, usually the atmosphere of the story of fear and panic, people trapped in poverty and misery, which eventually reach a balance.

The transformation of traditional shopping spaces from bazaar and street to the irregular construction of shopping centers has made "Shopping mall construction" the dominant approach to urban management. Types of shopping spaces are taking over the city without a comprehensive understanding of their formation philosophy and typology. Therefore, the purpose of this research is to identify the construction patterns and types of shopping spaces in the city of Tabriz from the beginning until now. The strategy used in this research is logical argumentation, with typological technique based on a certain theoretical framework. In this regard, first documentary studies were conducted to determine typological criteria. Then, 40 selected shopping centers in the city as a study sample were analyzed in two components: morphological and functional. A diagram of the composition of the construction patterns for each type was drawn and finally a typological diagram of shopping spaces was presented. According to the results, this research identifies two patterns of "commercial pedestrian street" and "commercial street" as the main construction patterns. In the evolutionary process of shopping spaces, six other construction patterns, including "Passage", "Underground Development", "Market Bridge", "Shopping Center", "Shopping Plaza", and "Mall" in combination with the two main patterns, form nine hybrid types. In addition, the type of independent malls that are the product of the last decade make up a total of ten types of shopping space. Most types are combined with commercial street. The most common hybrids include "Commercial Street-Passage Network" and "Commercial Street-Shopping Center". Technical superiority, scale advantage, network effects, and branding in the type of independent malls have monopolized the production of shopping spaces, however, urban life is more intense in hybrid types than in these types.

Morphological analysis or urban shape structure interprets the pattern of land use distribution and access system and directs the development process at the micro level, i.e., the network within urban neighborhoods. Access system analysis is based on matching form and function; In other words, the effect of network shape on improving the function of places, evaluates the desirability of morphological patterns. In this regard, the present study aimed to analyze the quality of the effect of morphological factors of the urban access system on promoting the symbolic function of local mosques. The research questions are ‘what are the positive or negative effects of the access network configuration method on the symbolic function of local mosques?’ ‘Which morphological factors in the local access network affect the symbolic function of the predominant buildings (mosques)?’ The research method includes a combination of qualitative strategy in the form of analysis and interpretation of library information about the indicators of urban morphological approach and access qualities, as well as quantitative / qualitative strategy and software based. The research is done based on a case study which has been observed and analyzed with Space Syntax tool and UCL Depth map specialized software to investigate the spatial arrangement of eight selected and distinct urban context samples in two regions of Qazvin city (region 2 and 3). According to the field observations and software analysis, the type of data is quantitative and qualitative, and the output of the analysis includes simulation maps, and numerical values. The morphological factors of the access network affecting the promotion of the symbolic function of local mosques, have been evaluated and inferred through comparative study, and logical reasoning methods. The results of the research show that among the 4 types of studied access networks, free geometry, dense network and blockage of numerous secondary passages lead to the minimum values of visibility indicators, and on the other hand, relatively regular geometry and straight and consecutive passages branching from the main axis lead to the highest level of readability and permeability. Also, the orientation and geometry of the background texture passages, and the number of communication passages between the square and the context are the determining factors in the parameters' values.

Glassmaking, as one of the valuable arts of Iran and Egypt, dates back to several thousand years ago. It entered into a new stage during the Islamic period with a rich historical and artistic background, so that the 3rd-7th centuries AH are considered as one of the most important eras of glassmaking in the Islamic period of Iran and Egypt. Iranian glassmaking in the Islamic period evolved while preserving and continuing the techniques of glass making and decorating of the previous era. Meanwhile, Egypt has been one of the main centers of glassmaking, and the ancient Egyptians were among the most prominent and skilled glassmakers in the world, but the peak of this art and craft took place in Egypt during the Islamic centuries. Despite the rich history of Iranian and Egyptian glass art, studies in this field have received less attention. Therefore, the present study is a comparative study of the sample glass chandeliers from the Islamic period of Iran and Egypt.Egypt is one of the countries in constant interaction with Iran; both of which have influenced each other in various fields. These interactions and influences in different historical periods have increased or decreased according to the governing conditions. The vital role of the Silk Road and the road’s ending at the shores of the Mediterranean Sea as well as Egypt, the transfer of artworks, and the migration of artists, caused an extensive relation in various economic, cultural and artistic fields between two countries from the beginning of Islam until the 6th-7th centuries AH.Also, the role of Bandar-e Siraf and the trade of glassware through the Red Sea between Iran and Egypt cannot be overlooked. Iran and Egypt, as the pioneers in the art of glassmaking, have made a great contribution to its advancement in the Islamic period.The purpose of this research is recognizing part of the glassworks of these countries and achieving their similarities and contrasts by focusing on the elements that have built up the form and overall structure of the components, patterns and ornaments under the title of morphology which is a science in the field of literary studies; currently used in other fields including art studies. The Russian researcher and anthropologist, Vladimir Propp first coined the term morphology. Morphology literally means studying and recognizing shapes and faces. That is the study of the components of an object and their relationship to each other and to the whole structure of that object. Morphology does not only mean determining the form and shape of works, but it also generalizes to recognizing and classifying works, determining the fixed and variable elements of each work, and in a broader dimension, extracting the morphological pattern, and the scientific comparative study of works by reviewing components of each effect.The present study seeks to answer these questions: 1) What are the visual features of Iranian and Egyptian glass chandeliers in terms of morphology, 2) What are the differences and similarities in the shape of the glass chandeliers of Iran and Egypt in the 3rd-7th centuries AH?This research is developmental in terms of purpose, retrospective in terms of time, and descriptive-analytical in terms of nature and method. Data and information were collected through authentic library sources. The population includes 12 samples of Iranian glass chandeliers and 9 samples of Egyptian glass chandeliers during the 3rd-7th centuries AH.The results indicate that despite the similarities in the shape of glass chandeliers, differences in their components, including fixed elements of the body, neck, base and pendant, and variable elements of ornaments and patterns, differentiated Iranian and Egyptian glass chandeliers from each other. Body, neck, pendant ring and base are considered as the fixed components, and various decorations and designs on glass chandeliers are among the changing elements of these works.  The body shape of Iranian and Egyptian glass chandeliers is parabolic and vase-like, but differences exist in these forms.The neck of Egyptian chandeliers is taller and wider than the neck shape of Iranian glass chandeliers, with a wide mouth made by a glass artist, which, like the body, has been a suitable background for presenting decorations and designs. A flat base was observed in the glass chandeliers of both countries, while a long base was observed in the glass chandeliers of Egypt. Despite the similarity of the shape of the glass rings -to pass the chains and hang the chandelier from the ceiling- there are differences in the glass chandeliers of Iran and Egypt, including the ring-like shape of this component in Iranian chandeliers and the handle-like form in Egyptian chandeliers. Also, some methods of decorating glassworks by glass artists have been used in only one of these countries. Drawn upon the study, the Egyptian glass artists, unlike the Iranian ones, were attracted to the use of pure abstract and iconic-abstract decorations.

Cities undergo a gradual transformation over time, and this is a time-based process. If the basic definition of the urban fabric is considered a criterion for including the building blocks of the city, beyond the issues related to architectural style and historical background, the arrangement and composition of blocks have a significant impact on the development of the fabric. In some cases, this combination gives the texture so much that it can make a difference. The shape of each city can be analyzed not only in terms of space but also in time, so to emphasize the relationship between the elements and how they communicate and interact over time; they can be examined in a typo-morphological framework. This approach can include a hierarchy of scales, development cycles, and a set of target objects, or the ‘block types’ and areas in successive historical maps. Obviously, because of the noticeable functional differences, it is futile to expect contemporary cities to be physically the same as old ones. Still, it is likely that in the current situation and by considering the functions and physical conditions of contemporary cities, it will be conceivable that physical actions lead to a logical relationship between the old and new, in a way that preserves the city’s integrity and identity. In this regard, this research tries to answer the study’s central question - how to determine the morphological types of urban texture elements with emphasis on urban blocks in a particular area and the process of change of each element. This study aims to present a morphological model of urban blocks as one of the main elements of urban development. The case study of the old city of Lar is one of the examples that have been less studied so far, and a comprehensive survey of the historic fabric and its developments has not been fulfilled. In addition to having a coherent structure of interconnected neighborhoods, old Lar has a fabric in which a pure sample of the architecture of hot and arid regions of Iran, intertwined with one another, formed blocks that, in terms of composition, It is a unique case of the evolution of the physical structure amid Iran’s historic cities. In addition, the 1960 earthquake caused sudden changes in parts of the urban fabric, and the resulting damage destroyed parts of the physical structure. Thus, the investigation of the case of the old Lar’s historic fabric, as a suitable representative of the fabrics in which both the course of historical development and the effects of natural disasters and subsequent intrusions and seizures affect urban blocks, has been considered in this research. In this regard, after extracting the types and clustering them using the basic algorithm of grouping analysis based on the ‘k-means clustering’ method, the course of changes of each of them has been investigated. As a result, with a descriptive-analytical approach and methodological framework, while re-reading the historical-deliberate process of historical fabric’s blocks metamorphosis from a combined morphological process perspective in the historic fabric of the old city of Lar, a model for the development and continuity of original morphological features has been developed.

During different periods of the contemporary history of Tehran, the volumes and urban sculptures of the squares have always had features that discovering what and why they are present in the urban space, can help the aesthetic reading of the works. .In the present study, the relationship between Islamic components and the relationship between them with sculpture and design of urban elements for practical purposes has been explained. The main purpose of this study is to investigate the effects and occurrence of Islamic components in urban elements of Tehran in the 80s and 90s. And this work has been done through the content classification of sculptures in Tehran, visual reading of selected works by hand (or species) and analysis of the function and function of sculpture in Tehran (80s and 90s) according to the components of Islamic art. Is.The statistical population in this study includes sculptures and urban elements of Tehran during the 80s and 90s (219 sculptures introduced by the Tehran Municipality Beautification Organization: Tehran Sculptures Book). The number of samples in the present study is 20 samples (for each decade, 10 samples were selected based on classes). Sampling method was also the method of choice.A study of the sculptures of the 80s and 90s in Tehran based on 5 selected components in the research model indicates that most of the sculptures have benefited from the history and geography of Iran and have been formed based on constructive beliefs.The main functions of these urban sculptures include raising the level of public awareness (transmitting cultural and religious concepts and values), creating visual beauty, identifying the place and creating a sense of belonging and peace.

Columns and their architecture have a major role in recognition of each architectural style in the history of world architecture. Persian architecture is not an exception and a simple glance towards the architecture reveals existence of huge diversity of columns in each era. This is while after ancient times, in contrast to their western rivals, not only column's diversity has not been studied in any major resources, but conducting research regarding their typology and structural components were also reduced. In fact, with the passage of time and manifestation of vault architecture in the Sassanid period and Parthian style, for various reasons such as advances in construction technologies and the increase of curved ceilings against flat roofs or the emergence of the first approaches and tendencies of introversion in Iranian architecture, the columns prominent role in architecture has decreased and hence vault and domes’ architectural study replaced the columns’ research. However, due to the travel of artists, intellectuals and architects to Europe in Qajar era, one can see the influence of European architecture in various aspects of architecture throughout Iran. The noble and aristocratic family houses started to imitate European palaces and mansions. Columns one more time started to play more important roles in Iranian architecture. The tendency towards extroversion in architecture and also the use of gables that were common at that time, provided the means for the re-appearance of columns in the facade of the buildings and as a result huge decorated columns in the villas and palaces of the rich appeared. This paper by stratified sampling with disproportionate allocation of 100 columns in Shiraz and their precise study tries to elucidate the evolution of columns within Shiraz from Safavids to mid-Pahlavi era. To conduct research, in the first stage, with reference to historical resources about Shiraz such as Shirazname reference books, a list of buildings that the architecture of their columns was described were extracted and studied (43 columns were surveyed). Then, by referring to the documents available in the Research Institute of Shiraz Cultural Heritage Organization, a separate list of registered buildings in Shiraz that has columns was extracted and their columns were surveyed (24 columns). Finally, in order to comprehensively study the morphology of Shiraz columns and considering the possibility that there are species of valuable columns that have been neglected in the previous lists, two of the oldest neighborhoods of Shiraz (namely Sang-e Siah and Sar Bagh) were visited house by house and if there existed a new column’s type in these houses, it was surveyed (33 columns). In the second stage a complete list of main characteristics and features of all surveyed columns –including their constitutional components’ dimensions, types, materials, structures, plans, sections and etc. - were provided and documented separately as unique identity data sheet for each column. Finally, these extracted ID data sheets were studied to provide a logical and comprehensive structure for classifying the Shiraz columns based on their constituent components. Accordingly, it tries to present a comprehensive framework for recognition of column's types based on their structural elements' typology as a main tool for classification of Persian columns. This framework can be used as a reference base for studying column's typology in Persian architecture. Accordingly, this paper by manipulation of the given framework reveals how each era's column architecture differs from the others due to the morphology of their structural elements - plinths, pedestals, bases, shafts, capitals and bolsters- in Shiraz. Finally, apart from depiction of wide diversity of columns with different classes in Shiraz, the paper also shows the frequency distribution of each element's types within the city.

The emergence of form-based codes (FBCs), along with the familiar and near-universal rejection of conventional zoning, is a complex story, and more interesting than might first be supposed. The Codes Study generally does not track developer-driven form-based codes. The socio-economic context of form-based codes has shown positive FBC impacts on physical and environmental well-being What form-based codes try to, is notifying morphological features for keeping the identity of urban fabrics along the ages. This mission is important especially for valuable fabrics of contemporary cities. Nowadays these fabrics are causing damage in front of losing their identity, more than every other time. The problem is to find the method of getting morphological patterns that are integrated and the whole of the city. But they changed to an inappropriate thing. Therefore infill and renovation development in historical fabrics especially, need to follow the principles according to form features and place against solid and unimaginable codes. 

This article aims to design the genealogical method that is able to cover the problem of deriving the urban patterns and typo-morphologies to a systematic and categorized style in form-based codes logic. The structure of this research has been made in three levels. First of all, it has provided a genealogical map from historical fabric based on Ghajar era’s maps before modernistic actions and surgery the city fabric. Then surveying the patterns at architectural units with the usage of typo-morphological relation between built spaces and open space. At last, it has taken the access link pattern for open spaces at the hierarchy of centers and squares. 

 The outcome of this essay is to concentrate on the study of form bares two utilitarian tools. First, a typo-morphological matrix that shows the relation between mass and space for each parcel with its pass. For illustrating the relation of mass and space it is used two species of matrices are. It is seen in matric type one patterns of mass and space and matrix type two hierarchical accessibility between mass and space. Second, a graph of structural relations that presents the way of distribution of nodes and squares in contrast to dynamic passes and roots. In addition to presenting the schematic position of nodes, it guides the logic of the relations that these nodes have with the lower or upper level of other nodes.

Eventually urban morphs be able to decompose and autopsy in different dimensions and scales with categorizing analytical data that come from the genealogical study about typologies of urban form and lead to deriving form-based codes and principles based on features of place identity. The Codes Study also tracks major initiatives and guidelines that may assist in the formulation of form-based codes.

Oedipus Rex's drama is one of the most famous plays in the history of dramatic literature in the world. This tragedy originated in the fifth century BC in ancient Greece by Sophocles. Oedipus the Prince is considered a perfect example of Aristotelian theater or tragedy. This work has been analyzed from several angles, including psychology, sociology, and literary criticism. Structuralism as a method of critique and analysis of literary texts has profoundly impacted the history of literature. Focusing on folklore and folklore, Vladimir Propp proposed a new way to interpret and analyze storytelling and narrative structure in a fairy tale morphology study. Propp's approach is based on the performance of the characters and their selfishness. In his theory, he introduces seven recurring characters based on their actions. Oedipus commits a great sin because of his deeds, falls from his lofty position, and is ruined. It seems Oedipus the Prince can be analyzed based on the prop model of repetitive characters. The present study is based on descriptive-analytical methods based on library sources and study of texts. It tries to show that each of the characters that Propp is looking for in his structuralism analysis is Oedipus himself, or in other words, Oedipus is such that all It has Propp characters. In this research, relying on the Prop method in the structural analysis of the narrative and the character of Oedipus as a constructive element in the drama, the research questions have been answered, and the results have been presented

Schools are one of the most important spaces for children's education and attention to physical features and spatial relationships and achieving optimal design patterns in contemporary schools are among the important issues in the quality of children's education and learning. Which can pave the way for the development of children's personality, education and upbringing in the future. According The importance of spatial relationships in schools and Its impact on student learning And also due to the diminishing components of the spatial configuration of the past architecture in modern buildings, In this study spce syntax has been used to analyze spatial relationships and how spatial configuration. In this regard, Dar ul-Funun school of Qajar Period was selected as the first successful modern-style school in the contemporary era for analysis.

The main question of this research is that what is the relationship between how the spatial organization is organized and the index of integration, depth, connectivity, visual connectivity (Transparency), Intelligibility in the form pattern of Dar ul-Funun school plan? A hypothesis that answers the main question of the research we are trying to test is that there seems to be a significant relationship between spatial organization and the degree of integration, depth, connectivity, transparency (visual connectivity), Intelligibility in the form pattern of Dar ul-Funun school plan and type of space syntax and arrangement is effective on the mentioned indexes in Dar al fonoon school.

The aim of this study was to analyze the characteristics of spatial configuration and identify spatial and social relationships in the past educational spaces to achieve the desired spatial syntax and modeling for the construction of new schools.

The research method used in the research is descriptive-analytical in the case sample and, ultimately, logical reasoning to prove the hypotheses. The tool used in research include library studies, field observation, and finally The simulation using The software Space Syntax(deph map). In the process of doing research first the theoretical foundations using library studies and first-hand references and documents, were collected and edited. Then, field observation was made from the selected sample and after simulating the case sample using specialized space syntax software (Deph map), the maps were analyzed and evaluated and finally by analyzing the selected sample using the logical reasoning method, the findings were discussed and finally conclusions were discussed.

The findings of the study showed that there is significant relationship between the type of spatial organization and the degree of integration, depth, connectivity, visual connectivity (transparency) and Intelligibility in the Dar ul-Funun school And central organization is positively correlated with integration,connectivity, visual connectivity (transparency) indices and Intelligibility and negatively correlated with depth indic. and given that the organization pattern and spatial arrangement in the Dar ul-Funun school is as a central courtyard, this space (central courtyard) has maximum integration, connection and visual connectivity (transparency) with numeric value 28.82, 7461 and 3967 and minimum depth of 1.37 in the Dar al fonoon school. Also the central syntax of the Dar al fonoon school plan creates high resolution with the numerical value of 0.91 in the Dar al fonoon school. Therefore, the use of a central model in school s plan has been one of the important factors in creating spatial cohesion and integration among the school spaces. And the use of central layout in the school space is one way to create spatial cohesion and integration among school components

Glassmaking is one of the oldest, most valuable and growing arts throughout history which has long been the manifestation of outstanding and unique glass works that show the level of interest, mastery and skill of glass artists in Iran. Glassmaking as one of the most prominent arts in Iran, has continued to shine throughout history despite the vicissitudes. Glassmaking as one of the glorious arts of Iran during the Islamic era entered a new phase with the advent of Islam. The Iranian glassmakers in the 3rd and 4th centuries AH have created unique and valuable designs, some of which have survived over time. In the aforementioned centuries, glassworks were not simple, but glassmaker artists created works in the form of text and various decorations by using the rich experiences of their predecessors and new methods of making and decorating glass. Jugs are of the functional utensils among these glassworks. The purpose of this research is to study Iranian glass jugs with a focus on the general structure of components, forms, patterns and ornaments under the title of morphology which is a science in the field of literary studies currently used in other fields including art studies. The term morphology was first coined by the Russian researcher and anthropologist Vladimir Propp. Morphology literally means studying and recognizing shapes and faces. That is, the study of the components of an object and their relationship to each other and to the whole structure of that object. This approach was first introduced in the field of literary criticism and is now applied in artistic fields where it is possible to examine and recognize the components of these types of glass and to give a general overview of the shapes of the works for further comparison. Morphology does not only mean determining the form and shape of works, but it also generalizes to recognizing and classifying works, determining the fixed and variable elements of each work, and in a broader dimension, extracting the morphological pattern, and the scientific comparative study of works by reviewing components of each effect. It is noted that fixed elements are those constantly present in the work, but variable elements appear in different forms and cause diversity. It is to claim that morphological studies of any period can be of a great step in examining the development and historical evolution of form and decoration in the field of works of art. Considering that the basis of criticism in art with any approach is focused on the form of the work of art, a general picture of the shape of the works can be achieved and thus they can be examined and refined from this perspective. The present study seeks to answer the basic question of “what are the visual features of Iranian glass jugs in the 3rd and 4th centuries AH? According to the available sources, the samples found from the jugs in the given period are 24 in total, the related data of which has been collected from library sources. The research method used here is descriptive-analytic and the given samples are evaluated and analyzed qualitatively upon the morphological approach. Drawn upon the results, glass jugs are composed of fixed elements of tank, opening and handle. Appendages on the handle, neck, base, ornaments and motifs are the variable components of these jugs. The glass jugs tank is made in tear, parabolic, meat grinder, cylindrical and syncretic forms with narrow, cylindrical and wide openings. The handle is connected to the beginning, middle or end of the tank through the opening. The glass artist prominently considers an appendage on the handle of most glass jugs. A simple and flat base was observed in the bottom of all the parabolic and tear jugs. Glass ornaments and jugs can be traced in two categories of pure and iconic abstracts including geometric, non-geometric, written, animal and plant motifs. One third of these works lack decorations and motifs.

Glassmaking as one of the most prominent arts in Iran, has continued to shine throughout history despite the vicissitudes. Behind several millennia of Iranian art history, valuable glassworks have been left with glass bowls as an integral part of them. The study of glass bowls focusing on its constituent elements, forms and decorations under the title of morphology can lead to understanding the background and historical evolution of Iranian glassmaking. It is to claim that morphological studies of any period can be of a great step in examining the development and historical evolution of form and decoration in the field of works of art. Considering that the basis of criticism in art with any approach is focused on the form of the work of art, a general picture of the shape of the works can be achieved and thus they can be examined and refined from this perspective. The attempt is made in this study to present the evolution of the art of glassmaking over time by examining glass bowls. Samples of pre-Islamic glass bowls have been collected and studied in order to find an answer to the fundamental question of “what changes have been made morphologically in Iranian glass bowls throughout history?”. The method of this research is descriptive-analytic and the data have been collected through library sources. The results show that the method of making glass bowls of the Islamic period of Iran is in fact a continuation of the method of pre-Islamic glassmaking while mixed with the initiative and innovation of glassmakers of the Islamic period. Pre-Islamic glass bowls during the Achaemenid period were made by pressing the mold and in the Sassanid era by blowing into the mold additionally. Glass bowls of this period have similar shapes to hemispherical molds and are often colorless and decorated with cuts. The cutting methods of these bowls are surface, double surface and embossed surface, and the most widely used is the role of honeycomb. The glass bowls of the first century of Islam had a shape similar to the bowls of the previous era, and their decorations is taken from the decorations of the glass bowls of the pre-Islamic era.These decorations are created by surface, double surface and linear cutting on the given works which the latter one was marked in the glass bowls of Islamic period. In the following centuries, glass bowls were often made and decorated by blowing into the molds. Pre-Islamic glass bowl decorations are mostly pure geometric abstract decorations including circular and honeycomb motifs, two specimens of which are decorated with plant motifs. Over the centuries, these ornaments have continued and iconic-abstract ornaments containing animal, plant and human motifs and purely abstract ornaments including written and non-geometric motifs have been used by the glassmakers.

Problem definition:

Glassblowing is one of the valuable arts in Iran which dates back to thousands of years ago. This art has entered a new stage during the Islamic era with a rich historical and artistic background, so that the time frame of third-sixth centuries AH is considered as one of the most important glassblowing ages of the Islamic era in Iran. The present study aims to investigate the morphology of glass chandeliers belonging to the Islamic period of Iran. It has been attempted to answer the questions that what are the morphological features of Iranian glass chandeliers and what were the fixed and variable elements of these artworks during the time frame of third-sixth centuries AH?

Thepurpose of this article is to identify the general structure of Iranian glass chandeliers, their components as well as fixed and variable constituent elements.

This research has been conducted on a descriptive-analytical basis and the information were collected through the library resources.

Glass chandeliers are composed of fixed elements of body, neck, base and pendant ring. The body shape of the mentioned chandeliers is elliptical-spherical in the form of an elongated vase, and their necks are long and short with cylindrical and horn-shaped forms. The variety of Iranian glass chandeliers is due to the way the pendant is applied and its location in the opening or middle of their bodies, as well as the decorations of these artworks and the addition of glass paste in the opening of these objects.

Seljuk Period is one of the most significant era in which the Islamic Art in Iran flourished in the fourth and fifth centuries particularly glass art. Carafe is considered as one of the most frequent glass vessels in this regard. Studying the form, structure, and the decoration of this kind of glass works can be an approach toward the study of glass art in Seljuk period. In so doing, the present study is an attempt to study the form and shape in terms of morphology that is one the prevalent contemporary approach in the area of literary criticism and of the sub-category of structuralism. Morphology is a term first used by Vladimir Propp. His emphasis was on analyzing an effect in terms of its components and believes the structure of an effect is made in terms of its constituent components and the relations of that component. In his view, the structure of each effect is a system full of hidden relations that requires to be discovered in order to comprehend the relations of it. This study is seeking to address this fundamental question that “what are the visual features of glass carafe of fourth and fifth centuries in Iran in terms of fixed (body and neck) and variable (decorations) elements. The date was then collected, categorized and analyzed. The present research is conducted upon the library studies. The methodology is descriptive-analytic. The reason of selecting this approach is an emphasis on the form rather than the content in glass arts. In Propp’s view, analyzing the form is as important as the morphology of the species. He found the recognition of the fixed and variable components important. The fixed elements are the ones that would not change while the variable ones are different and brings variety. Results from studying fifty-five glass carafes of this era shown that the carafes are made of the fixed elements of the tank as well as the variable elements of the decorations. The tank form is made into three general states of lacrimal, parabola, and meatballs. Indeed, this part of carafe has the maximum amount of decorations that can be under study into two parts of abstraction and schematic-abstraction. The former is divided into three geometric, non-geometric and written parts while the latter includes animal, herbal, and humane. In abstracted decorations, the geometric designs particularly beehive patterns are prominent while the written designs (with Kufic Calligraphy) comprises the good luck and blessing for the owner and holder of the dish. Also, non-geometric patterns are used to fill the carafe space most often with glass paste. In herbal schematic decorations, the patterns of flower, leaf and ivy are used in which the abstract quality is evident. In the animal part of the pattern, the bird scheme and especially the peacocks are into the circular geometric patterns. Not any trace from the humane patterns are seen in these carafes. The neck is also made like a thin narrow cylinder without any decoration and the neck is like an added strip sometimes with edge.

The Orsis, these memorable openings from the Safavid to the Qajar Period, are a collection of various traditional arts, each of which has a very long history in the history of Iranian architecture. Orsis, Iranian handmade art, can be seen everywhere in Iran and have their own unique characteristics in each region. Orsi has been used in various places, including houses, palaces, husseiniyahs, mosques and bazaars. Tabriz Bazaar, as one of the oldest and most important bazaars in Iran, has many Orsis, which are different from other examined Orsis in terms of function, appearance and size. This study has tried to answer the following questions: What are the position and location of Orsis, their structural features and characteristics in the Timchehs of Tabriz Bazaar? What is the common factor of the Orsis in terms of structure in the Timchehs of Tabriz Bazaar? The present study aims to investigate Orsis, in terms of morphology, age, position and importance, function, general shape, design and role, as well as materials, size and measurement system in the timches of Tabriz Bazaar using descriptive-analytical method and library resources and field surveys and interviews with the old traders of the Bazaar. Due to the nature of the issue, the research is of a fundamental type and has been carried out by descriptive-analytical method based on library information and observation and review of the sources available in the bazaar Timchehs. According to the research in the field of morphology of bazar Orsis, it is estimated that the Orsis in the studied Timchehs were made in the Qajar period as less complication was observed in terms of color and pattern in the Orsis; this was one of the charateristics of the Qajar period. The Orsis are located on the first floor and can be accessed from inside the ground floor room, which is now closed, making it easy to access and handle. In some cases, we see the replacement of Orsis by modern openings. In these architectural elements, glass and metal wood have been used, and the Orsis that we have seen so far have been made in different sizes, and the design and module used in them have been simple and geometric.
Bazaar Orsis are different from Orsis in other locations in terms of use, design, color and dimensions, and they differ in terms of body size, inscription shape, surface design geometry and number of lintels at the level of bazaar timches.

Glassmaking is one of the oldest, most valuable and growing arts throughout history. It can be said the art of glass has developed in the Islamic period which has long been the manifestation of outstanding and unique glass works that show the level of interest, mastery and skill of glass artists in Iran and Egypt. With the advent of Islamic civilization, the glassmaking of Iran and Egypt reached its peak with its rich historical and artistic background. Iran and Egypt, among the pioneering lands of the art of glassmaking, have made a great contribution to its advancement in the Islamic era. This study is an attempt to identify and adjust the glass carafe of Iran and Egypt in the 3rd and 6th centuries BH based upon the morphological approach. Morphology literally means studying and recognizing shapes and faces. That is, the study of the components of an object and their relationship to each other and to the whole structure of that object. It is a term first used by Vladimir Propp. His emphasis was on analyzing an effect in terms of its components and believes the structure of an effect is made in terms of its constituent components and the relations of that component. This approach was first introduced in the field of literary criticism and is now applied in artistic fields where it is possible to examine and recognize the components of these types of glass and to give a general overview of the shapes of the works for further comparison. In all, morphology as one of the methods of artistic explanation is an approach that in most cases studies the constituent elements of the work and examines the general form and structure of the components, motifs and decorations. In other words, morphology is efficient in recognizing and determining fixed and variable elements of the work. Fixed elements are the ones that are constantly present in the work and do not change, but variable elements appear in different ways and cause diversity.Studying the shapes and forms of glassworks of Iran and Egypt including the carafes is an approach to glassmaking art in this era. The samples are collected to answer these fundamental question that “What are the visual characteristics of glass carafe of Iran and Egypt in 3-6 AH centuries in terms of fixed (reservoir and neck) and variable (motifs and ornamental) elements” and “What are the differences and similarities in their shapes?” This research is based on library studies in a descriptive-analytic manner. The results showed that the glass carafes of both countries have structural similarities such as reservoir and neck elements, and the decorations can be traced in two abstract and semi-abstract parts. Despite the similarities in the morphology of the Iranian and Egyptian carafes, which illustrate the effects of glassing in these two countries, there are some differences in the varied elements including craters and various ornaments such as geometrical, non-geometrical, textual as well as plant and animal decorations in which abstract quality is noted.

In the Iranian plateau, technological advances have always been evolving. The beginning of the third millennium for most parts of Iran shows the process of extensive socio-cultural changes, which are often considered as signs of the beginning of the early Bronze Age. The most important of these changes, based on archaeological evidence, are technological and demographic changes, trans-regional trade relations, and the formation of the first government-based societies. The invention of the bronze complemented the method of creating and studying metal objects, and the demand for raw materials increased. This source of wealth made Iran one of the most important producers of copper, tin, lead, wood and stone among the nations. From the third millennium to the first centuries of the second millennium BC, there was a trade relationship between Afghanistan, Turkmenistan, Iran, and Mesopotamia. Thus, the civilization and culture of this region of the world have in many cases been in close and direct contact with each other. Discovering alloy, humankind recitative tools had evolved in life, religion, business and art. In the Bronze Age, northeast of ancient Iran and Central Asia had great similarity in culture and art. In these two region, human Statuettes had been built from the stone and copper with little dimension in abstract method and had remarkable nicety and delicacy which can be indicated the relevance and interactions of northeast of ancient Iran and middle Asia in the Bronze Age. The purpose of this project is finding the answer of this question that: how was the similarity rate of human Statuettes from northeast of ancient Iran and middle Asia from the view point of form and usage? In the Bronze Age, the gender of many founded Statuettes had been built of women. These women Statuettes had been built with delicacy, subtlety and nicety from the view point of construct and body form in abstract method and condensate. They also had enforced on female organs with little tridimensional content in small size. These statuettes had religious usage which referred to the fertility and birth and had found in the burial bed. In the Bronze Age, communication and social interactions between northeastern ancient Iran and Central Asia were widespread, and accordingly, significant interactions can be seen in the culture and art of the people of these regions. These interactions and similarities are very noticeable in the human bodies found in the burial bed. Most of these statuettes are female. The statuettes of Hesar and Tourang in northeastern ancient Iran are similar in structure and form to Altin, Namazgah and Gnoor that made in a concise and abstract style with elegance, softness and emphasis on femininity and with open arms to the sides. It should be noted that in Central Asian sculptures, despite simplification in body shape, there is more reference to decorations, hair and clothing, however, in Turang, in spite of these cases, the tendency towards realism is also seen in some cases. This research has been done in comparative-descriptive method by using library data resources.