جستجوی مقالات مرتبط با کلیدواژه "معماری معاصر ایران" در نشریات گروه "هنر و معماری"

Problem statement: 

Today, attention has been paid to the diverse presence of natural elements in the contemporary architecture of Iran, especially in the post-revolution era, as part of a broad movement towards sustainability and human-centered design, and this presence has been examined based on different perspectives and attitudes, with However, less attention has been paid to the order of nature and its fundamental features that increase vitality and stability in buildings.

The purpose of this research is to examine the Iranian architectural buildings based on the opinions of Christopher Alexander to create structural integrity and order and increase harmony with the environment, as mentioned in her main works “Language of Patterns” and “The Nature of Order.

To achieve this objective, 24 significant contemporary Iranian buildings from three distinct post-revolutionary periods were systematically evaluated. A questionnaire based on Alexander’s 15 principles of “Living Structures” was utilized, and responses were analyzed by a group of architectural and urban planning experts. The evaluation focused on the presence and effectiveness of natural elements within these architectural designs.

The results show that buildings such as Tehran Book Garden and Mellat Cinema Campus are more consistent with Alexander’s principles, especially in elements such as simplicity and inner peace, contrast and good shape that contribute to the well-being and comfort of the user and more harmony with the environment and vice versa. Structures such as the library and the national museum are less consistent in characteristics such as grading and ambiguity; Therefore, paying attention to a comprehensive approach in architectural design and balancing traditional elements with modern innovations and paying attention to the characteristics of nature and using them for future projects seems necessary.

The Khuzestan Governor's Palace, generally recognized as a building from the first Pahlavi period, displays architectural features that align more closely with the second Pahlavi era than the typical style of the first Pahlavi palaces. This article addresses this architectural discrepancy by conducting a historical investigation into the palace's origins and transformations, revealing new insights about its development. According to the findings, while the Governor's Palace was originally constructed and utilized during the first Pahlavi era, significant renovations were undertaken in the late 1940s. These modifications likely occurred in connection with Iran's First Construction Development Plan and involved a decision to repair and modify the structure extensively. These renovations introduced substantial and sweeping changes within a short timeframe, with the project overseen by three prominent contemporary Iranian architects—Mohsen Foroughi, Ali Sadegh, and Keyqobad Zafar Bakhtiar. The architectural plans for the renovation, prepared by these architects, were executed under the direct supervision of Foroughi and Sadegh between 1954 and 1956, thus transforming the Khuzestan Governor's Palace into an early example of palace construction influenced by second Pahlavi aesthetics. One notable aspect of this renovation was the comprehensive redesign of the palace gardens and surrounding landscape. Foroughi and Sadegh replaced the existing Western-style garden, common in the late Qajar to early Pahlavi periods, with an Iranian Charbagh design. Additionally, the architectural style of the palace itself was transformed from a neoclassical pavilion structure to a modernized design with elements referencing traditional Iranian architectural motifs. This renovation project, which was among the first of its kind during the second Pahlavi era, may have paved the way for Foroughi's later architectural work, including his designs for the Niavaran Palace, and contributed to the evolution of modern Iranian architectural practices. In addition to its architectural significance, the renovation of the Khuzestan Governor's Palace involved considerable advancements from a technical and engineering perspective. The palace facilities were thoroughly upgraded using innovative engineering methods of the time. Bhutan Company designed the heating system, which, though no longer intact, represented cutting-edge technology. Additionally, Mehdi Bazargan, a prominent mechanical engineer and contemporary political activist, designed the cooling system. These technological updates significantly altered the palace's infrastructure, enhancing its functionality to meet modern standards. Today, the transformation of the palace has left only the basement as a visible remnant of the original Pahlavi construction. This research thus provides a deeper understanding of how historical renovations can reshape a structure's identity, blending elements of different architectural periods to reflect Iran's evolving heritage.

The manuscript aims to establish synchrony between the designer and the biological intelligence of nature, defining a profound interaction between the creator and nature. The practical objective of the article is to enhance human-environment compatibility. The article advocates the adoption of bioware and living tools in the architectural design process.

The research methodology is descriptive-analytical. It is a kind of applied research. The research has both qualitative and quantitative approaches. Data collection methods included library (literature review) and field (questionnaire) research, and data analysis was conducted using SPSS software. the target population was the employees of government offices in Hamadan city and the studied population was 350 people from the target population.

The highest level of environmental compatibility with the audience in office spaces using nature was found in "creating indoor space with an emphasis on trees in the terrace area" with a score of 131.2, followed by "indoor space with an emphasis on trees in the room" with a score of 98.1 and "indoor space with an emphasis solely on natural scenery" with a score of 97.1.

The results prove the influence of nature in the form of living tools on the compatibility of the environment. It shows positive feedback from the audience. The results focus on the use of bioware and living tools to enhance a building into a natural organism. Nature is a way to connect to the roots. Therefore, it is a witness to human and environmental compatibility in office spaces.

In the past, Iranian architecture and urban development followed a specific trend associated with the architecture of its previous era. But in the contemporary era, this trend undergone changes and evolutions in this field. The present study sought to investigate the factors affecting architecture and urban development in the First Pahlavi period and to analyze some of the factors that have provided the ground for these evolutions, and also to examine the impacts of these changes and evolutions on contemporary Iranian architecture and urban development policymaking. The present study was a qualitative and quantitative one, which used library sources and studies in order to collect the data. Moreover, Analytic Network Process (ANP) and Super Decisions software were utilized to analyze the data. The study results indicated that factors such as archeology, training architectures, artistic congresses, archeology and the Association of National Monuments, militarism, and modernism have had a significant impact on the architecture and urban development of this period; and the extent of the impact of changes on architecture and urban development has been equal. The most influential factors in architectural evolutions have been modernism and archeology of that era; and factors such as training architectures, scientific congresses, and militarism have affected urban development evolutions.

Memorial architectural textures do not emerge in isolation; rather, they are shaped by a multitude of factors, both seen and unseen, that interconnect in a complex chain of causality. By meticulously tracing and contextualizing these factors, we can aspire to imbue them with a sense of immortality, embedding them within specific contexts and decoding their significance. This study endeavors to advance the understanding of contemporary Iranian monumental architecture through the lens of shape grammar, exploring how this grammar can inform the creation of new designs within this architectural tradition. By delving into the theoretical frameworks of memorial architecture and grammatical form, this article not only offers a framework for the perpetuation of this architectural heritage but also lays the groundwork for systematic evaluation.
The objectives of this study are twofold: To perceive contemporary Iranian monumental architecture through the extraction of fundamental shapes within the grammar of form. To generate new designs that uphold the essence of contemporary Iranian monuments.
This research adopts an applied approach, utilizing documentary-analytical methods as its primary research methodology. Both library and field methods have been employed for data collection. The process of data analysis involves identifying the grammar of form, which serves as a production system for generating new designs from basic shapes according to a set of rules. By applying this method to analyze six contemporary Iranian monuments, basic shapes are extracted, and a set of rules is formulated. Subsequently, new designs, infused with the essence of the selected monuments, are created.
In conclusion, by employing the grammar technique of shape within the context of six contemporary monuments and devising an algorithm comprising a finite set of basic shapes and instructions, this study demonstrates the potential for generating an infinite array of design solutions.

Neo-traditional architecture during the Second Pahlavi era is recognized as a symbol of progress and synchronization with global standards. This period witnessed extensive developments in cultural, social, and architectural dimensions. The present research examines and analyzes the elements and frameworks of modern architecture in the Second Pahlavi era. Case studies of several prominent architectural structures from this period are investigated, and their analysis from the perspectives of aesthetics, technology, and their impact on the social and cultural fabric of their time are explored. The research method is qualitative based on an interpretive-historical approach, and data collection is conducted through library studies and field visits. The results indicate that neo-traditional architecture in the Second Pahlavi era, inspired by local elements and their combination with modern techniques, has created works with unique characteristics

Society is constantly undergoing changes influenced by various factors, which impact all aspects of life, including culture. Consequently, when changes occur, adaptation and coordination become necessary. The architectural landscape in Iran, with its long history and remarkable works, has been rapidly and multi-dimensionally shaped by the developments of the 20th century. This has sometimes led to conflicts between the past and the desired future, resulting in periods of confusion regarding the direction of progress. The paper aims to investigate the effective components in the formation of contemporary Iranian architecture based on social changes. The research methodology employed in this study is qualitative and follows an analytical-historical approach. Content analysis consists of three stages: preparation and organization, examination of materials and messages, and data processing and conclusion drawing. These stages are conducted using MAXQDA software. Additionally, graphical representations are generated based on the research components. Gafi stands out as one of the notable programs in this regard. The results indicate that social changes over time have significantly influenced the evolution of contemporary architecture in Iran. Factors such as political, economic, cultural, climatic and environmental consideration have distinctly shaped contemporary Iranian architecture during different historical periods.

Problem statement: 

With Iran’s entry into the threshold of modernization and the establishment of the University of Tehran in the year 1934 (1313 AH) and the gradual formation of the Faculty of Fine Arts until 1940 (1319 AH), art and architecture education took a new approach towards academic methods. Academic experiences for approximately two centuries have shown how architecture is taught has a significant impact on the formation of architects’ personalities and is reflected in their architectural works. One of the most influential academic institutions in this regard is the Bauhaus School in Germany. The Faculty of Fine Arts, as the first academic center for architectural education in Iran, has also demonstrated explicit interactions with many of these schools, including the Bauhaus, in terms of adopting innovative teaching methods. The influence of the predominant approach of the Bauhaus School can be observed in the examination of the works of professors and students. 

The objective of this research is to examine the Bauhaus approach in Germany, identify the patterns of this style, and trace them in the architectural structures of the Pahlavi era, which include the works of professors and students of the Faculty of Fine Arts at the University of Tehran. 

This study is interpretive-historical, and as a result, the analysis of the findings and the influence of the fine arts are approached through a descriptive-analytical research method. To achieve this, several examples of buildings constructed by professors and students of the Bauhaus School were examined. The main design features have been extracted through the examination of these samples and interviews. Then, by systematically weighing the indicators using a developed formula, the degree of affiliation of each architectural work to this style was determined.

The results of the research indicate that the influence of the fine arts from the Bauhaus approach can be seen during the period of Emmanuel Pontremoli’s management. The commonly used architectural parameters of this style include flat roofs, the use of modern materials and technology, a balance in the composition of volumes and facade elements, and functional beauty. These features are more pronounced compared to other characteristics, such as white facades and pilotis.

Mid-rise apartments are currently the most common type of residential buildings in Tehran. In the last two decades, brick facades with unconventional designs and modern patterns can be seen in residential apartments. This paper claims that this trend is a response to the prevailing residential facades and is thus a Regionalist endeavor. Therefore, this study aims to identify key examples of this trend in modern brickwork facades of residential apartments and to examine their responses to factors such as local climate and nature, sustainable architecture, architectural heritage, and regional conditions and limitations. The institutional factor, i.e., approved city ordinances, was also studied to clarify the position of Regionalism. In this descriptive-analytical study, four examples of the urban fabric of different areas of Tehran from the south to the north of the city were selected and analyzed. Qeytariyeh Residential  Building from the 2000s, 40 Knots House, Villa Apartments, and Kahrizak Apartments from the 2010s were described and analyzed with respect to their position in Iranian contemporary architecture and the aesthetic quality of their facade designs. During the last two decades, aesthetic changes can be observed in the expanding trend of modern brickwork facades, which aside from alignment with the three-dimensional modern brickwork in Tehran, bear a critical response to typical residential apartment facades regarding design and execution. In addition to its aesthetic function, the brick in these residential buildings also fulfills climatic and cultural functions. In the construction of these apartments, advanced structural technology and hand-made and machine-made bricks are used to create Regional architectural works conforming to the aesthetics of modern world architecture. From an institutional point of view, the approval of a small exemption from city taxes for brick facades and the attempt to influence facade designs have had some impact on the growth of modern brickwork facades in Tehran.

This research was carried out in a situation where attention to the concept of quality and returning to one's identity is the focus of attention of the country's officials. Examining the process of holding Iran's national architectural competitions as a platform for expressing intellectual tendencies and comparing the language of contemporary architectural elites can play a significant role in identifying the cities and contemporary architecture of the country.
The current research has been carried out with the aim of identifying the effective components of Iran's national architecture competitions in promoting the country's contemporary architecture in the 1390s, and it is in the applied quantitative-qualitative research group, which uses a mixed method to first collect qualitative data and then quantitative data with the help of a It compiles an exploratory plan.
Its data was obtained through in-depth interviews with 30 experts and experts, and after reaching theoretical saturation, the qualitative data collection process was completed. The quantitative part of the current research was conducted in the form of a survey according to the obtained indicators, and then a preliminary questionnaire was designed. After collecting the questionnaires, the answers were analyzed in two parts, descriptive and inferential. Structural equation modeling was done using Amos Graphic software for the inferential analysis of the research, and the most important factors were obtained from second-order confirmatory factor analysis. In this research, the components involved in holding Iran's national architecture competitions, which can be effective in the growth and promotion of the country's contemporary architecture, were identified and explained.

Post-modernism is the dominant aspect of the cultural belief of the time that re-frames all actions and constructs distinct ideas of experiences and conditions at the deepest levels and everything that can be known about the contemporary world; As long as the centralized power gives way to a discrete plurality, and bring to the fore a manifestation of contemporary identity in the current era. This research - which has been done using the qualitative method and the grounded theory approach - with the general purpose to analyze and interpret the identity of Iran contemporary architecture based on post-modernity and critical thought, looking for an answer to this question, How can identity, as a critical approach, have an effect on the recognition of post-modern architecture - especially in the Iran contemporary era? In this research, the systematic approach known as Strauss and Corbin's theory (2019) was used to analyse the data. According to the classification of Corbin and Strauss (2022), the systematic approach has three stages of open coding (concepts), axial coding (Casual Conditions, Actions & Interactions, Context, Intervening Conditions and Consequences) and selective coding. In the collection and extraction of the main categories and sub-categories, from the documentary and citation resources and the interview tools have been used. The special emphasis of the research is on the views and opinions of those professors and architects who work both academically and professionally. Hence, the research data has been compiled and analysed in semi-structured interviews. The responses at the highest saturation level reached relative saturation in the 17th interview. The interview process is continued until the 25th to ensure the data and obtain absolute saturation. The content of data was coded by Strauss and Corbin coding method in three stages (open, central and selective). In the coding process of 17 interviews, the frequency of the 5969 coded items, was reduced to 317 open codes from the frequency ratio of 1337 codes after refining and merging. The obtained codes, in the number of 53 axial categories and 8 selective categories, were related to the axial theme of Iran Contemporary Architecture Identity. The Observations Percentage Agreement of 90.37% indicates relatively complete reliability and coverage of criterion level of more than 0.6 of Kappa coefficient, describing validity as ideal. Therefore, the research quality index is acceptable, and the reliability and validity of the research are confirmed. The research results can be valuable and interpreted by examining the criteria of matching, generalization, understanding, and control. The findings show that the result of summarizing the causal variables of the research in the mediating conditions of the existing situation, provides an event that in a fundamental attitude, between the (narcissism to self-defeat) truth and (self-belief) Iranian essence, and in a historical discourse, between a re-reading of what exists and a re-presentation of what should exists, in a Preventive (and not Mandatory) form and in a reading of a critical realism and feedback interpretation of self-reflection evaluation from the feedback of others, they recreate the way of being.

Emerging technology is a part of the international identity of contemporary architecture. Architectural algorithms as a practical tool have influenced modern designs. The aim of the research is to reformulate future architecture through examination of the visual, form and functional characteristics of buildings. Achieving the goal of the research requires creating a theoretical framework for the role of emerging technologies and determining the levels and mechanisms of their application to form the identity of highperformance architecture.

The research methodology is a combination of quantitative and qualitative methods with a theorization approach and exploratory survey of examples of projects that have been influenced by emerging technologies. The results have been analyzed based on three-way analysis, Likert scale and using SPSS statistical software.

The main indicators investigated in the research have an effective role with an impact rate of 40 to 100 percent. The obtained numerical results indicate the confirmation of research hypotheses and the necessity of a designerly approach to highperformance architecture.

The results of the research emphasize the capacity of emerging technologies in interaction with contextual identity. The results concluded in the significance of highlighting the Islamic Iranian identity of the country as a field for realizing the highperformance architecture theory. The conclusion of the research shows that a designerly approach to highperformance architecture is a prerequisite to interaction between context and emerging technologies. Islamic Iranian identity should be seen as a scene for visioning the future architecture and the architecture of the future.

The contemporary world, due to the penetration of new means of communication, sees its own identity constantly changing its criteria, transformation and crisis. A global perspective on the changing nature of modern architecture provides fundamental insights into issues such as the impact of technology on architecture based on the relationship between tradition and innovation. In the meantime, with the occurrence of the industrial revolution, a new technological production method is emerging; which relies on the Machinism. In this way, capital occurs as an important factor of production and other currents in development emerge; which have established new theorizations in the postmodernism era and globalization. The findings of the research show that Globalization or tradition is the result of tradition and modernity challenge in the context of global culture and its achievement is affected by Industry, Capital, Technology and Competition. This research aims to find the roots of Iran contemporary architecture backwardness problem from world architecture and the process of globalization with a qualitative method and in a historical format. It seems that the root of many failures lies in the understanding of the existing conditions of architecture and the ability to recognize historical discourses.

The positive position of space, or in other words, space-axial against a volumetric viewpoint, is one of the key aspects of Iranian architecture. In this regard, transparency is considered one of the principles and fundamentals and among the special and fundamental qualities in the spatial structure of Iranian architecture. Based on this, some contemporary Iranian architects have tried to make it visible and realizable and have continued it based on these principles and the inspirations from the eternal works of this land. Relying on the importance of addressing this indicator, the aim of this research is to measure the application of the transparency concept and how it manifests itself in the physical elements and spatial structures of contemporary Iranian architecture. Accordingly, in the current research, the way of realizing transparency in the contemporary architecture of Iran and the extent and quality of its emergence and development have been questioned and discussed. In order to examine this issue in detail, two cultural centers in the contemporary period that have paid attention to the formal and semantic aspects of Iran’s past architecture have been selected to be analyzed and measured in terms of transparency. The current research started with the hypothesis that the examination of the way transparency is represented in the two buildings of Dezful and Isfahan cultural centers reveals the differences and similarities that can be effective in enriching the contemporary architecture of Iran. Therefore, research questions about the quality of transparency in these two buildings are proposed and lead to measures to make the space transparent in contemporary Iranian architecture: Which physical elements and spatial structures have been used by each of the two cultural center buildings of Dezful and Isfahan and how to create transparency? What are the differences and similarities between the transparency appearance in these two buildings?

The current research has used two quantitative and qualitative strategies. So, the descriptive-analytical and analogical, and logical reasoning methods, as well as bibliographic and document studies, have been used to collect and analyze data. In order to investigate the transparency issue in contemporary Iranian architecture, the main factors that create transparency in architecture were extracted from the existing theories. Then, these components were categorized into four subsections containing the main indicators of spatial transparency. The reason for choosing Dezful Cinema Cultural Center and Isfahan International Cultural Center among existing contemporary cultural centers is the architect’s exceptional attention to the use of Iranian architectural elements and techniques. In order to perform a quantitative analysis using Agraph software, Justified Plan Graphs were first drawn from the floor plans. Since the amount of visible area at any point of the space is an important indicator in evaluating the transparency level, UCL Depthmap software was used to measure this component. In the final stage, each of the four indicators of the transparency concept was measured and concluded with a quantitative analysis of syntactic indicators.

Four syntactic factors of visual cone, spatial integration, connection, and depth were selected to evaluate the degree of transparency. Spatial connectivity and depth, as well as the number of spaces, were analyzed in Agraph software, and two factors of visual accessibility (Isovist) and spatial integration were analyzed and interpreted in Depthmap software. In Dezful Cultural Center, the location of the main volume of the building in the depth of the ground and the externally blocked walls have minimized the continuity and sequence of the internal and external areas of the building. While in Isfahan Cultural Center, the division of the plan into two inward and outward parts has maximized the visual transparency and continuity and sequence of inside and outside in half of the building. In the Dezful building, the depth indicator showed that despite the hierarchy and the distance of the spaces from the external area, the location of open and semi-open internal distributable spaces is in the points that created the continuity and sequence of the internal areas at great depths from the building’s entrance. In the Isfahan building, the low number of depth indicators for most spaces means more integration in the interior space. The comparison of the number of spaces in the two Dezful and Isfahan buildings, and its ratio to the maximum depth in the plan, shows that although there is a significant relationship between the number of spaces and the amount of integration, the presence of a large number of spaces in a slight depth can moderate the effect of high spatial multiplicity on integration reduction. The numerical and figural comparison of the local integration and the maximum and minimum values clearly shows the important role of the inter-space in spatial integration and transparency.

In this research, the results were obtained after analyzing the criteria related to the transparency of the spatial structure, including spatial openness, integration and overlap, continuity and sequence, and spatial coherence using the tools of depth, number of spaces, connection, visual cone, and integration. Transparency, in general, is observed in both buildings with the use of relatively similar measures. However, there are differences in how this transparency is created and its amount, which is caused by the difference in how these elements and spatial structures are used. In general, the measures adopted in the physical elements and spatial structures of Isfahan Cultural Center have mainly led to visual transparency. In Dezful Cultural Center, physical and mental transparency has emerged more than visual transparency.

Our understanding of contemporary architecture and its relation to the past has formed historically against the backdrop of a complex network of various individuals and other contextual factors. A prominent figure representative of such an understanding is Vartan Hovanessian. His decades-long activities included diverse fields such as criticism and authorship, corporate activity, and architectural design. This article answers the question of his intellectual position regarding the relationship between the architecture of his time and that of the past. It examines the network of thoughts, individuals, events, interactions, and other factors to draw a comprehensive picture that goes beyond a scholarly monograph of the architect. The research mainly relies on primary sources especially his articles, using the historical method to construct a narrative of his intellectual positions on the relation of past and present architecture during the three decades of his professional activity in Iran. This research shows that “the past” appears in Hovanessian’s thinking in two distinct ways: the “distant past” and the “recent past”. The “distant past” in all of his writings includes all historical periods of Iranian architecture up to its peak, i.e., the Safavid era, while the “recent past” starts a few decades before the publication of his first articles. However, the works and the time frame he suggests for the architecture of the “recent past” vary in the articles he published during the 1320s and 1340s SH. His different intellectual positions towards the past in each period can be explained in relation to modern architecture and to his perspective of the future as manifested in the European and Western ideals of modernism.

Sustainability assessment systems are an important tool for measuring and managing actions taken in architectural works. The main goal of the research is to measure the efficiency of the DGNB system in management and programming the architectural interventions in the Karaj Iron Foundry.

descriptive-analytical research method is adopted in the article. The method of data collection is archieve documentary. the Karaj Iron Foundry as a shared heritage of Iran and Germany is selected as case study of the reserch. The monument was built by famous German, Austrian, Italian, Swiss, etc. architects between World War I and World War II, and it is worth considering as a world heritage site.

The findings of the research in the Karaj Iron Foundry based on the DGNB system indicate that the environmental quality with 20% influence on the sustainability is in the first place, the economic quality is in the second place with 17.9%, and the social quality is in the second place. Cultural and functional quality with 16.7% stand in third place, technological quality with 15.3% stands in fourth place, process quality with 15.2% stands in fifth place and finally site quality with 15% stands in sixth place.

The results indicate the efficiency of the DGNB rating system in programming an action framework for the Karaj Iron Foundry. Therefore, it is possible to recommend the adoption of this sustainability evaluation system in managing the action process in other valuable works of contemporary heritage and industrial architectural heritage.

After the industrial revolution, Architectes encountered a variety of concerns. Among those were the altercation between identity and new technologies, in which some believed these two elements were directly opposite. In this regard, the main goal of the research is to explain the theoretical relationship between new technologies and the building's formal framework in the architectural works of the last four decades in Iran to provide a strategy to improve its contemporary architecture.

The research is a combined research and consists of descriptive-analytical and survey from a methodological point of view and is practical research in terms of its purpose. After examining the relevant theoretical foundations, the criteria are determined, and the samples are defined and analyzed based on the main criteria. The resulting data are presented as a questionnaire to the expert statistical community. SmartPLS was used to validate the questionnaire, and Friedman's test was used in SPSS software to prioritize the data.

the findings indicate that most experts believe that the most significant impact of new technologies in Contemporary Iranian Architecture should occur in the three main dimensions: flexibility in construction, high-speed construction, and safety of new materials against fire.

by examining the multi-functional buildings of the last four decades specifically in the last decade, the widespread attention of contemporary designers and architects is to use new technologies in the aesthetic aspects of buildings, which has led to the decline of the building's identity when employing modern technologies to it.