جستجوی مقالات مرتبط با کلیدواژه « میدان نقش جهان » در نشریات گروه « هنر و معماری »

Informational perspectives are the starting point of another environmental preference model developed by Rachel and Stephen Kaplan. This model is often referred to as "priority matrix". Stephen Kaplan describes two types of attitudes towards the environment that can respond to a person's information needs. On the one hand, a person can be actively involved in the environment, for example, exploring the environment. On the other hand, a person can try to understand the environment. When a person enters a new environment, he expresses emotions such as happiness, sadness, fear, anger, etc. But sometimes a person feels that there is no distance between himself and the environment and it is as if he has lived in that environment for a long time. First of all, it should be stated that the emergence of emotions is the result of two complex mental processes, called perception and In the first process of cognition, data is collected by the five senses, and when several senses are stimulated simultaneously, the data sent to the body's nerve center has a deeper impact on the cognition process. Received information is processed and recovered and finally feelings are expressed. Does he know about the environment? This article defines how the feeling of belonging to a place emerges and how the five senses work and the effect that the senses have on the emergence of a sense of belonging to the environment, and then by studying the characteristics of the role of the world and matching it with the principles presented, we reach this conclusion. That the cultural, economic, political data, personal experiences and memories that a person has learned during his life have an effect on the data received by the five senses and cause a sense of belonging to a place in a person.

Problem statement: 

 Sheikh Lotfollah is a prominent building that dates back to the Safavid era. In different periods, various interventions have changed some parts of the building’s original form. Despite the international value of the Sheikh Lotfollah monument, no complete documentation of its changes and interventions has been carried out so far. Revealing hidden and undiscovered aspects of the form and function of Sheikh Lotfollah can identify any inappropriate interventions done in the past. On the other hand, it can pave the way to preserve this building for posterity.

This article aims to display the transformations of unique and little-known features of Sheikh Lotfollah for the first time.

This research attempted to present the transformation process of this building by analyzing related descriptive and visual documents in the order of the year. In addition, some of the unwritten features of Sheikh Lotfollah were documented by interviewing people who had been involved in its conservation from the past until now. Moreover, the main part of this research was done with a detailed field survey of each part of this building. Ultimately, all the analyses were implemented on the maps.

This research revealed that some sections of Sheikh Lotfollah were separated from it over time and dedicated to other functions. Consequently, the changes in the access point to the building brought about changes in the original plan of the building. It is noteworthy that there have been many other changes in the facade and form of the building.

Title: An Investigation in the Orders of Seeing in the Safavid era, whit Emphasis on the rules of Seeing in Naghsh-e-Jahan SquareabstractWE are Living in the age of Visual explosion, nd its important to develop our skills in seeing. According to critical approach in contemporary humanities, its obvious that seeing is historical. Although the new concerns on Orders of Seeing have been associated with modernity, visual engineering has always been a way of governing societies. What Can be seen in a certain society, at a certain time; places of seeing and the relations between the spectacle and the spectator, Are the revealing points of the characteristics of a scoopic regime in a particular position. Discovering the Orders of seeing in a particular Society is a way pf understanding why societies make images whit particular characteristics, to show and hide what may be seen. So By looking through the outstanding visual culture scholar’s opinions on visuality/visibility, I’m trying to suggest some methodological approach for analyzing the order of seeing in a given point. In this approach constructed sites are not just spaces to move in, but they are spaces for controlling inhabitant's behaviors. The main purpose of this study is to discover the most important characteristics of Safavid order of seeing through a profound investigation in the role of the square in premodern Iranian monarchy, by emphasis on Isfahan s Naghsh-e-Jahan square and its public and private sites. Naghsh-e-Jahan is the symbol of Safavid power relations and maintained its function through the years. It is the well known image of Safavid era and Safavid city.The literature review shows that the dominant visual order in premodern kingdoms is based on "Spectacle" and Safavid society is no exception to this rule. In the spectacular order, governments establish the pillars of their power and the foundations of their legitimacy by manipulating the spectacle and performing theatrical rituals, creating an image of monarchy that forces their subjects to surrender. Considering the Naghsh-e -Jahan square as one of the most important places of seeing in the Safavid era, showed that the Shah himself and the religious, military and economic foundations of the Safavid monarchy were the most important things to be seen. By the Way, the right to look in Safavid square is distributed in two dimensions which is in line whit the power relations in Safavid society and reproduce and strengthen Safavid legitimation pillars. These directions are, up to down(person to public), which is the supervision look, and emphasizes the superior position of the king and his courtiers; and down to up (public to private), which is the look of admiration, amazement and submission.Key words: order of seeing, visibility, visual culture, Safavid era, Spectacle, Naghsh-e-Jahan

Human is known as the primary user of the urban space, and the squares of every city, both in the real world and in the virtual world, are the beating heart of that city, where a series of social, economic, religious, political, activities take place. They are known based on the type and manner of human perception of that city. This article was written to explain the effective components in improving the quality of urban spaces and obtaining the most important of these components in two examples of urban spaces. has been The present research is looking for an answer to the "components of improving the quality of life in urban open spaces" and "the method of classifying fields in a parallel world" by using documentary and library studies as well as the research method by extracting the components that affect the quality of the urban space, concepts and accordingly Those main extracted categories were measured in a wide range through field studies and questionnaires, and the results were analyzed through SPSS software, the Friedman test, and AHP method so that finally, the urban squares in the parallel world are classified in terms of quality. In fact, according to the goals and research questions, this article is in the field of qualitative research. The statistical population of the first stage of the research includes the residents of Isfahan city (more than fifteen years of residence), and the statistical population of the second stage of the research includes architecture students. For the first stage of the research, the samples were randomly selected and included one hundred people; each person answered two questionnaires, each with twenty-six questions and the same questions about Atiq Square and Naqsh Jahan Square. The questionnaire included open-ended questions about age, gender, and education level. In closed-ended questions, a Likert scale was used to measure users' opinions about each component. In the second stage of the research, five main components of the fields were selected. These components were questioned by two hundred and ten architecture students in the seven parallel world fields of Dicentrand; this research's formal and content validity has been confirmed by sending it to several experts in the field of architecture. The relationships between the research components have been investigated through SPSS software and Friedman's test. The results show that the components of quality improvement of urban spaces are classified into two categories: physical-spatial and functional criteria, which physical-spatial criteria are dimensions and proportions, harmony and spatial order, and human scale, and functional criteria are a mix of uses, suitable activities, and vitality. And social life is classified. The results of the research indicate that the main square of the world of Centralland (Genesis Plaza) is a suitable representation of a structuring field, which is designed in a very favorable way based on the components of the real world. Further, the other fields of this world are also very similar to the real world, and there are many similarities between the two regarding design structures.

The existence of various factors in modern architecture has brought about changes and problems such as not paying attention to cultural, historical and traditional elements in indigenous architecture. Therefore, in communicating with the native architecture, modern architecture tries to implement a space that, on the one hand, has the ability to meet the needs of society and, on the other hand, does not create a place far from the original and traditional patterns by changing the space. But these changes still create problems in the historical context and physical elements of naturalistic space-making, and most of them have arisen with new approaches and modernist expression. Since squares play the role of a collective space in the context of the city, it is necessary to focus on climatic criteria and implement ideas with new technology to have a stable and compatible basis. In this study, with documentary studies and historical-analytical method on naturalistic approaches in the indigenous architecture of Naghsh Jahan Square in Isfahan, by examining naturalistic elements from different angles, the findings indicate that the features of indigenous and modern architecture in Naghsh Jahan Square are sustainable. Climate and cultural issues together and with the use of modernist elements that some spaces are limited; Also, executive plans do not have a rich cultural background. These changes have been formed depending on temporal and spatial conditions and have somehow isolated and degraded the identity and vitality of the collective space of the square.

Naghsh-e Jahan Square was built during the Safavid period as a prominent government architecture complex in Isfahan. Naghsh-e Jahan Square consists of four specific buildings, each of which has a separate function. The Sheikh Lotfollah building is the third monument built in chronological order. This monument is located on the east side of the square, opposite the Aali Qapo Palace. Transformation of the  this building's form and its adjacent buildings over time  makesit difficult to understand the original function of the building. In this paper, we analyze all the existing descriptive documents of the time of Sheikh Lotfollah's construction for the first time. These descriptive documents also include the manuscripts written by people studying or teaching at Sheikh Lotfollah. Based on the analysis of the documents and similar buildings built at that time, we explore the main function of this building over time. This study reveals that the primary function of the Sheikh Lotfollahat the time of construction was to serve as a school. Although the main function of the building was educational, the prayer hall was used for prayer complementary. The size of this monument is large, and accordingly, the prayer hall is large.  Due to the destruction of some parts of the building with the functionality of education and the similarity of the size and the form of the prayer hall to prayer hall in other mosques, Sheikh Lotfollah has named a mosque instead of a school.

The Public spaces of each civilization are among the important issues in determining the social identity of that era and social history is a guiding background in the formation and success of these spaces. In order to recover the lost identity of the tribes, considering the preservation of the historical identity sequence, it is possible to refer to the past and re-read the signs and meanings hidden in the body. In the Safavid period, despite the use of force and seizure of public property in the process of construction of Naghsh-e-Jahan Square, this space was welcomed after a while, the effects of which remain to this day. This article seeks to find out how the Safavid government influenced the transformation of the meaning of space and the creation of social identity of Public spaces. In other words, the question has been how to construct a special social identity of the Safavid era and its role in constructing the desired Public space of this research. The present study, based on a documentary and library study of the social history research method, deals with the effects of social tendencies in architecture. For this purpose, after introducing the intellectual foundation of the Safavid government, the social results of these ideas and its effects on the architecture of the Public space and its social acceptance are examined. This research is based on the assumption that the measures taken politically and culturally to create religious and cultural integration have had the greatest impact on the identification of Public spaces. The result of this study made it clear that thePublic space of the Safavid era in terms of time factors of formation includes three dimensions of political, religious and territorial and in terms of causes in social practice includes three systematic parts of physical and spatial and construction and these factors led to collective spaces. This period should have unique characteristics that, except in the eyes of the rulers, gradually gained legitimacy and social identity from the point of view of the space audience

Space is a multi-dimensional concept that is at once economic, political, semiotic and experiential, and in this sense it is an integral component of social interaction and an indispensable vector for critical theories. After 1980’s knowledge of space has become critical to understanding the production and transformation of power relations, and in this regard the built environment is an important concept for any endeavor in social analysis. This paper explores the possibilities for development of social theories of space-power based on the theories of Michelde Foucault, coupled with methods of content analysis of urban spaces.The aim of this article is to explore how political poweris constructed in urban spaces, and how these construction processes might be conceptualised and analysed. The paper begins by exploring the Foucault theories of power-space to analyse and interpret the relationship between urban space and political power: how political powers implement to shape urban spaces, and improve their authority and legitimacy through spaces, in turn. These strategies can be defined in spatial technologies through founding of spatial structural and functional principles.Grounded on this analythical and interpretative study of Foucault theories of space and power relations, this paper seeks to demonstrate a conceptual framework which can be adapted to urban spaces content analyzing. The achievement of this research is to develop an appendant analysing method to elaborate a tool for the meaning analysis of spaces in architecture and urban design studies. This methodology is applied in a case study sample. The main strategies which are explored in the theoretical-based part of this study are tested in Naghsh e Jahan Squere’, a historic squerein the city of Isfahan, during Safavid era, specially the reign of Shah Abbas.

Statement of problem:Naghsh-e Jahan square has been formed as a prominent urban space in Isfahan with the interaction of economic-residential, religious, and governmental sectors in the Safavid period. This square has entrances to connect with each other. One of this square’s routes was toward governmental part is the gate known as Khorshid. The study of this gate helps to identify the uses around the square, spatial relationships, and hierarchy of access during the history. Some researchers study the transformations in square and evaluate Naghsh-e Jahan square. This research reviews the Khorshid gate for the first time based on the historical-descriptive and visual documents of Safavid era until first Pahlavi period. this research has used library and field data. By evaluating the descriptive and visual documents of different historical periods and present condition, the evolution process of gate was determined from Safavid era until the collapse of Pahlavi. This research aims to explain the evolution process and the use of the Khorshid gate from Safavid period until today by evaluating available historical-descriptive and image document. the evaluations revealed that in Safavid period, the given gate with three other similar gates, have been the entrance of king’s seraglio but the Khorshid gate alone connected the seraglio’s passage to the western side of Naghsh-e Jahan square. Visual documents also showed that this façade, as some other royal gates of Safavid period, has been two flats building with center doorway and false arches on both sides. In Qajar period, by destroying seraglio, the given gate has been used just as the entry of Khorshid gate. In the first Pahlavi period, this gate was destroyed and it is in the same situation until today.

Naghshe Jahan Square is one of the most important urban spaces in Iranian architecture. Considering the interactivity of this square with the surrounding urban spaces, there has been a significant number of entries in different periods. Among these entrances is a gateway to the western side and near the Ali Qapu that its use, construction and architectural features have remained so far unknown. By examining this gateway, in general, it is possible to reveal some of the formal and functional changes of the square, and in particular, the construction history, architecture, and architectural features of the gate. So far, a number of scholars have done some research on the developments in the square. This research first explains the construction history, function and form of the western gateway architecture. The data from this research is a combination of documentary and field data. In this study, by examining descriptive and visual documents of various historical periods and checking the present status, the current position of the gateway and its past usage were determined. The purpose of this research is to demonstrate the form and function of this gateway as well as the reason for its construction. Investigations revealed that during the Safavid period, the entrance to this gate was the entrance without a specific door. In the Qajar era, where a large part of the square use is devoted to military operations, in spaces connected to the gate on the western side, a military barrack is organized in the square of Chaharhouze and surrounding areas. This gate has been the pass way between the military barracks and Naghshe Jahan Square. In addition, by comparing the architectural features of this gate with other gates belonging to the Qajar period, the time of construction can be considered this period. This gate was destroyed during the first Pahlavi era and this part of the square has returned to its former shape.

Color as an environmental stimulus is considered as the means for expression of human feelings while reflecting various culture of aspects. Recognizing the characteristics of colors in urban landscape and optimizing their application together with developing responsive urban environments and spaces is major of concern. The concept of color on façade has been and is an inseparable aspect in city planning, because human needs aesthetics. There exist valuable historic urban spaces in Iran where each serves as a unique entity as to formation of an appropriate mosaic. Studies run on the aspect of façade color propose patterns in harmonizing contemporary urban spaces. The objective here proposes a method to analyze façade color and its patterns in urban spaces which include historical structure. The major question of this study is: How the information on environment color concept can be codified by applying modern digital technologies. The method adopted in this study is of analytic descriptive. In this study, the theoretical foundations and history of façade color concept and applied the common methods are analyzed through a combination of digital tools and image processing software. Naghsh-e Jahan Square is selected based on its historical background and its specific importance as a desirable urban space. Attempt is made here to assess the method adopted in our subject area and present the practical implications. The color system applied in this study is CIELab and the method of color strip is applied in the analysis section. The findings indicate that selecting color in harmony with climate in Naghsh-e Jahan Square is an appropriate measure in overcoming to the color problem in urban spaces. These selected colors, in terms of their attribution and characteristics, are in harmony and represented the main colors of the subject space façades. It is observed that the group of complementary color in harmony with the main colors of the background is applied to create qualities like diversity and visual richness, legibility and emphasis on the landmarks and building entrances in an excellent composition.

Statement of Problem: Architecture can be defined as the art and practice of providing a balance between inside and outside spaces. It is thus possible to explore the traditional architecture as a treasure of knowledge and experience of the predecessors from a new perspective. It is assumed that the symbiosis of the inside and outside has changed in the Isfahan-i architecture as a heritage of the Safavid period, a major period of Iranian architecture. The present paper mainly aimed at the spatial and physical analysis of special buildings of the Naqsh-e-Jahan Square in terms of status, factors, the inside-outside symbiosis, and the role of each in the development of urban identity and the architecture of this historic complex.
This is a descriptive-analytical study through library and field research with the aim of developing the architectural thinking and design. The results of the study indicate that the relative preference for urban spaces and landscape over the particular characteristic of each building. Nevertheless, there is a balance between inside and outside with the relative importance of inside in each building. The increasing importance of urbanism, urban development, and focus on urban complexes instead of single buildings as the product of an architect’s creativity during the Safavid period are all examples of the special attention to the "outside", which can be attributed to the display of government power and competition in the Islamic world. The integration of the bazaar with public buildings in a new form and the combination of columned porches and monuments in large dimensions and multi stories are both among the innovations of Isfahan-i style, resulting from a change in the attitude towards the inside-outside relationship in architecture. In addition, the significant role of entrance in terms of both meaning and function in this period can be considered as an emphasis on the display of boundaries and hierarchy in architecture. The most important element of the interactive region and transition area where the inside and outside are intertwined.

Centralizing ethics in sustainability has led to an evolutionary process towards ethical approach as a holistic approach of sustainable development. This approach, deep in concept, has evolved sustainability and endures the most fundamental relations of human and environment. The most recent definition of ethical sustainability, describes this approach as a complex of human relations, including human relation with contemporaries, human relation with nature and human relation with future generation. Urban spaces, and particularly the plazas, are the grounds of social interactions which present living dynamism through the presence and activity of citizens. This space has been considered as a highly important urban landmark among citizens, and it could be said that residents of a city are usually aware of different city zonings on the basis of their city plazas. What people expect of a plaza is a public space with high diversity and eventful environment which allows the possibility of social interactions. With profound changes occurring in all aspects of current era, most of urban plazas have been affected by market forces. As the result, proper principles have not been applied in the formation of these spaces, which has led to a sharp reduction in the space efficiency and the presence and vitality of people in current urban areas. Therefore, these plazas would not be capable of creating human relationships as the main theme of ethical sustainable architecture. In order to analyze sustainable relations in the plazas of Iranian cities, it is necessary to compare a traditional case study of the Iranian urban plaza with a modern, more contemporary designed plaza of this land, on the basis of ethical sustainability. The aim of this research is to illustrate the triple sustainable relations, in the traditional, historical plaza of Naghsh Jahan in Isfahan, and the contemporary designed plaza of Imam Hossein in Tehran, based comparative analysis. The selected methodology of this research is comparative method. A comparative study is a comprehensive, multidimensional, and systematic process that seeks out differences and similarities in research. This kind of research will take generic patterns from the research environment and by emphasizing it on the differences between objects of research context, will help to seek a better understanding towards the main subject.  In this comparative study, both quantitative and qualitative techniques have been used, yet, qualitative approach is dominant, in which the researcher studies objects in their natural situations and tries to conceptualize or interpret phenomena in terms of the meaning that people give them. In fact this research emphasizes on the social nature of the facts and the importance of human values and relationships with nature, contemporaries and future generations in the research process.
In this research, common patterns of both plazas are driven out of the case studies and their discrepancy reveals the studied comparison in three steps. Related literature is reviewed in the first step, followed by detailed examination of Hanover Principles, as the first established sustainability principles which states ethics as one its main roots, on the basis of sustainable relations. In this step, Hanover Principles are categorized by their capability in realizing each of the trial sustainable relations. Finally, based on their related Hanover Principles, each ethical relation is analyzed separately in the case studies and the findings are compared through a visual diagram. This comparative analysis reveals higher attention on ethical sustainable priorities in the historical plaza of Naghsh Jahan in compare with the comparative plaza of Imam Hosein. Results show that in Imam Hussein Plaza, human relation with nature has been revealed only through plantation of trees in the margin of main plaza. However, in the Isfahan Plaza, the use of semi-open spaces, direct visual connection between the plaza and the sky, besides Suitable orientation, in order to benefit most from sunlight and wind, has played significant role in creating human-natured connections. Human relation with contemporaries in the Naqshe Jahan plaza has been considered in the edges of the plaza, which creates the confinement and separation between the main part of the plaza and the surrounding urban spaces. The use of natural elements in the space and the placement of stores around plaza, has offered comfort for the people who are enjoying the inner core of the plaza. This is while in Imam Hossein plaza, this relation has only been reached through the benches, which are designed and located randomly on the hard flooring of plaza’s inner core. Research results show that considering the use of local materials, use of water and plants in plaza’s inner core as natural resources, locating the functions around the field in accordance to natural lighting and reachability, besides field formation design in accordance to the orientation of sun and the dominant wind, and finally an adjustable design of the plaza for multi-purpose activities, are the priorities which can strongly affect human relationship with future generations. On this basis, it has been concluded in this research that this human relation is completely neglected in the plaza of Imam Hossein.

As one of the most popular areas of research in contemporary comparative studies in works of art and literature, imagology aims to explore the image of one's own culture as presented in the literature of another and vis-e versa. Such study posits that exoticism forms the foundation for portraying other nations' image which is rooted in the clichés and stereotypes written on the destination society.Since antiquity, Iran has always attracted the attention of oriental and occidental travelers. Concurrently with the developments in world and regional interactions, Iran-EU connections entered a new era and obtained a new form. Numerous travelers from different backgrounds and with different intentions, made their journey to Iran from the European countries and each of them left his own set of reports, notes and travel literatures on his experiences of the journey made. The narration of these travel literatures could be considered as a way of expressing one’s ideas and thoughts wherein the distinction between eastern and western identity, nature and understanding had been portrayed. These travel literatures hold a very important position because they not only portray the characteristics of the destination society but also contribute to better understanding of the formation of the society of origin. Therefore, the way modern societies have been established and the characteristics of western societies, such as economic booms, the powerful, orderly political system and other features could be related to cultural and economic interactions with other countries.Safavids’ reign was the golden era of the promotion of arts and culture in Iran. On the other hand, their rule marks the beginning of a new chapter in Iran-EU relations and so, many well-known European travelers made their journey to Iran, whether as officials or ambassadors of the European countries, to become acquainted with the country and its rich arts and cultural traditions. They used to spend most of their time in the court in Esfahan which was the royal capital of the Safavids’ Kings and record their personal reflections. That is the reason why most of the travel literatures on Iran have been written during this period and such records are brimming with accounts of Esfahan city as well as the manifestations of arts and culture therein. Such manifestations, which have always been the center of attention of travelers of Safavid era, include the Nashq-e Jahan Square with its four main architectural landmarks which are Ali Qapu Palace, Imam Mosque, Sheikh Lotfollah Mosque and Qeysariey Bazaar.Hence, travel literatures of the era, considered as literary texts, represent the western viewpoint regarding the Iranian lifestyle, arts and culture and thus, they constitute a proper platform for studying the prevailing stereotype views towards Iranian arts and culture.Employing a historical-analytical approach with the data collected through desk study of library sources, this research article intends to conduct an imagology study of Esfahan's art from the perspective of travel memoirists such as Tavernier, Chardin, Kaempfer who have mainly focused on the art traditions manifested in Naqsh-e Jahan’s architectural landmarks.Since authors are not single, independent creatures but are part of the history of the society that has formed their identity; re-studying the images created by the western travel memoirist of Esfahan's art could contribute to recognizing their colonialist backgrounds as well as the chronology of the culture of orient vs. occident.The imagology studies take this assumption that although the understandings and experiences the travel memoirists have been obtained through their direct contacts with the destination culture, yet their accounts are profoundly affected by images and texts already portrayed and written on the oriental culture by the westerns. In fact, although in most travelogues, the nature of the narrator’s relation with ‘others’ is direct conversation he has made during his real trip, still his accounts are overshadowed by the stereotype, cliché and hegemonic perspectives which are the characteristics of the western literature.Through the study of the travel literature written during the Safavids’ rule by those western travelers who had journeyed to Iran for whether trade purposes or just for the sake of travel, we find out that in their travel records, even where they are admiring the Iranian arts and culture, they are comparing them with their western examples as if the west has been the cradle of art and creativity. On the other hand, the prevailing stereotype views regarding the residents of the orient, including jealousy, hatred and etc. is considered the origin of the Iranian art.

Nowadays, increasing and various sound sources such as traffic, human activities and disturbing sounds, have made a displeasing soundscape that leads to a turbulent perception of soundscape for people. These indicate the importance of paying attention to the soundscape quality in urban spaces. Naghsh-e-Jahan Square as an urban space is not an exception to this and there are variety of auditory potentials that can be heard so that may produce an unpleasant feeling of soundscape of square. Assessment and identification of pleasant and unpleasant sounds from the viewpoint of users including Iranian tourists, foreign tourists, merchants and Isfahan residents who visit the square is of great importance. In this regard this study aimed to assess the perception of people with regard to Naghsh-e-Jahan Square soundscape quality. This research is a practical and analytical research in terms of nature. For qualitative evaluation, first the researchers identified the sound sources via sound walks and recording. Psychoacoustic approach has been adopted in this research. Then, psychoacoustic questionnaires including four segments were used. Questionnaires include 4 parts: (1) personal information and the reason and number of visits, (2) pleasantness of sound sources, (3) open questions to identify the auditory imageability elements, and (4) semantic differential scale to assess the overall characteristics of soundscape in Naghshe-Jahan square. Totally, 385 questionnaires were filled by people in the square after sound walks. Sound walks have been performed on common week days in winter and spring 2016. Respondents were free to choose the desired path in the square but they had been asked to visit all of the spaces and parts of the square to have a comprehensive visit. Results revealed that soundscape quality of Naghsh-e-Jahan square is positive from user's perception. Results also showed the quality of Naghsh-e-Jahan square is affected by pleasant sounds such as horse carriage sound, Azan sound, activities such as metal artworks and unpleasant sounds such as motorcycle and cars noise, environmental equipment noise. To achieve a high quality soundscape, it is necessary to reduce unpleasant sounds and to increase the number and frequency of pleasant sounds. Auditory imageability elements were including: sound marks such as horse and carriage and metal art works sounds that were assessed positively by respondents. Sound signals included Azan, carriage and vehicles sounds, and vehicles sounds were assessed negatively by people. The vehicles noise should be eliminated or controlled. Keynotes were fountains and carriages and footsteps. This means that people hear foreground sounds more than background sounds. There is a need to make horse and carriage sound more distinct so that people can realize the background sounds and foreground sounds. Auditory rhythms included Azan and fountains. Preserving the Azan sound and rhythmic activity of fountains is of great importance. As a whole, results showed that people’s perception is the most important parameter in soundscape pleasantness. Achieving soundscape pleasantness and providing a design framework to enhance and reinforce positive soundscape requires further complimentary studies that can open new windows to this field of study.

In traditional architecture, the adherence of architects to the rules and proportions in numbers, geometry and music is present in designing and shaping many public monuments, and mathematical proportions, artistic ratios, or musical proportions are used in geometry of these buildings. Extracting and matching mathematical rules and proportions and examining them in the architecture of the traditional buildings are among complex issues which are well-worth for further analysis. The present article is aimed at finding the link between «architecture and music», «architecture and mathematics» and «music and mathematics» and determining the boundaries and mutual points of these sciences. The objective was to reorganize geometric pattern in Jelokhan of Sheikh Lotfollah Mosque in city of Isfahan and the linkage of its Asemaneh of the dome with music.This is a theoretical research and its theoretical basis is carried out with a historical interpretation method. Logical reasoning has been used in investigating Jelokhan and Asemaneh of Sheikh Lotfollah Mosque in Isfahan. In order to fulfill the purpose of the sudy, the relations between «architecture and music» and «architecture and mathematics» were analyzed in the form of a concept as «music-math» in architecture for adaptation. In examining the relationship between architecture and music, the researchers faced many stances. For instance, some authors believed that architecture is an expression of music in its further development or in its evolution, while some others indicated that architecture is the frozen music in space.Thus, to understand the relationship between music and architecture, you need to understand the language of both along with finding their mutual ties. Therefore, in extracting common principles and characteristics that include criteria, similarities and symmetries while keeping in the mind the relative importance of measuring the relationship between architecture and music, we analyzed it in terms of rhythm, equilibrium, balance, symmetry, high and low points, decoration and beauty of decorations, color, hearing sensation, pleasure, and quantitative role of numbers. In examining the relationship between architecture and mathematics, math is also considered as the purest type of thought and one of the main causes of human closeness to God. That is probably why most traditional architects bring math ideas into architectural designs so as to verify their beliefs about the Creator and the natural world around us. Mathematical expressions in architecture can be expressed numerically, symbolically, philosophically, creatively, conceptually through numerical ratios. Finally, in explaining the concept of «music-math» in architecture, we need to determine the extent to which musical and mathematical uses of architecture are parallel, shared, and reciprocal. In scrutinizing the proportions between architecture and music, architecture and mathematics, principles and common standards such as equilibrium, balance and symmetry, decorations and proportions, hearing sensation, numerical philosophy, numerical proportions, graphic geometry and numerical relations were obtained. In order to elucidate the theoretical findings of the research which are explained by the relation among the concepts of music, mathematics and architecture, we focused on Jelokhan and Asemaneh of Sheikh Lotfollah Mosque in Isfahan. The discovery of a hidden geometry in the depth of Jelokhan combined with Iranian Dastgahi music and mathematics along with finding a harmonic pattern in abstract patterns of the dome of Asemaneh coincided with changes in the frequency of the notes reflects its architect›s adherence to the principles of music and math in the architecture of this mosque. The proportions and rules contained in the musical, architectural, and mathematical Jelokhan of the mosque were analyzed through the fact that most geometric points of Jelokhan from the beginning to the end, the main lines, the lines of symmetry, the vaults, the lines of the Mogharnas, and many of the details of the mosque›s Jelokhan were built based on a pattern which is formed in a modular compendium of mathematics and music using the similarity of the Shur-e Sol Dastgah. Besides, the beautiful harmony of this Iranian Dastgah is seen in Jelokhan of the mosque and the walls of the Naghsh-e Jahan Square. In addition, the harmony of this Dastgah is present in heavenly decoration of mosque’s Asemaneh; decorations that, similar to orthogonal mathematical models are aggregated or opened. These harmonic decorations are a certificate of fine and delicate musical notes or an increase in the frequency of notes in Shur Dastgah.

Environmental theater that has attracted the attention of the audience and artists during the last few decades, has made thought and the art of architecture much more closer, especially urban architecture and theater. Recognition of space and space behavior as urban scenography, and its physical and environmental recognition, are among the most important issues that Environmental theater performers pay attention to, for performing in urban spaces. Space praxeology is an issue that examines spaces or urban environments and their relation to human activities. The present study, by studying the behavior of the communal spaces and examining its tools and facilities for performing environmental theater in creating the relationship between the audience and the performers, considers the impact on the audience on the urban environment. Considering the theoretical infrastructure of Environmental theater and its relation with the spectator, this research investigates one of the well-known urban spaces, i.e. Naghshe Jahan Square of Isfahan, in terms of the functioning of space, its elements and the relation between mass and space on social behavior for performing Environmental theater, and while presenting a model for analysis of elements of urban space in relation to performance, it argues that the geographic location, the physical and its display areas, have the necessary capacities and spatial facilities for performing Environmental theater.

This institution of endowment is the partial or total assignment or transfer of a property or real estate to certain entities, mostly for the benefit of the public. An objective and distinguished instance of endowment, which has also been investigated in our current paper, is the Naghshe Jahan Square in the city of Isfahan. As a supportive and protective measure, Shah Abbas, I (996 – 1035 A.H.) endowed some real estates to the square after its construction. Though kept preserved through various periods, deeds of endowment had their donating rulers changed, and in some cases new deeds of endowment emerged for the donation of new real estates, resulting in a diverse proprietorship structure with respect to this ensemble.
Longevity and eternity of this square has always been the main priority for which a substantial strategy has been developed from the beginning. A transient look at this ensemble reveals that endowment has played a great role in its performance and longevity. This role is so significant that nothing more than some sporadic buildings would have survived from Naghshe Jahan Square if the endowment system was not there to support and protect it.
An analytical and historical point of view to the issue of proprietorship and its types, as well as investigating the contribution made by the waqf system in the longevity of these buildings is essential for finding right answers to these questions.
The institution of endowment is the partial or total devotion or transfer of a personal property to one or more special persons for taking actions that are mostly altruistic and beneficial to the public.
Endowments have served a wide range of diverse purposes, such as protection of donated properties, hosting some religious and national ceremonies, helping the needy and sustenance of the donor's name.
A tangible instance of endowment, which is also the subject of the present study, is the Naghshejahan Square. King (Shah) Abbas, of the Safavid dynasty, endowed part of the royal properties to this compound in order to have them conserved. endowment deeds of Naghshejahan Square, though ultimately survived, but underwent some changes in the course of the history after it was built, particularly in the Qajar and Pahlavi eras and afterwards in terms of mode of application, and in some cases new endowment deeds have been issued that encompassed new properties.
Probing into the history of deeds of endowments issued from the time of its construction, prioritization of the deeds on the basis of their being principal or subsidiary, how the custodians adhered to the articles of the deeds of endowment, and the great number of endowers of the square are points under investigation in this paper. These are issues that need investigation given the importance and function of endowments in economic, social, and religious areas in the Islamic community in different eras, particularly today.
The research adopts a descriptive-analytic approach, relying particularly on the documents that exist in the relevant libraries, organizations and institutions