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

The cultural complexes, particularly cultural centers, play a crucial role in enriching the leisure time of teenagers and young people, fostering their awareness, and creating a platform for desirable social behaviors. In addition, these centers play a key role in shaping the cultural identity of young people and fostering a sense of community. They also offer a platform for creative expression, artistic growth, and social engagement, which are all crucial for individual well-being. The effectiveness of architectural design on the configuration and spatial relations of these types of spaces is crucial in optimizing the functional efficiency of these centers. For instance, the space design can significantly influence the way people interact with each other, the physical environment, and the activities and programs offered by the center. Moreover, integrating sustainable materials and energy-efficient systems can lessen the building's environmental impact while enhancing indoor comfort and health. Effective design strategies can include using natural light, ventilation, and insulation to reduce energy consumption and create a sense of connection to the outdoors. This approach can also enhance the space's aesthetic appeal, making it more inviting and enjoyable for visitors. By incorporating these strategies into design decisions, architects can create spaces that are not only functional but also sustainable and environmentally friendly. This research aims to investigate the identification of effective components in the spatial dialectic relationship of Tehran's leading culture centers from the second Pahlavi period to the contemporary period. This research aims to provide valuable insights into the evolution of cultural centers in Tehran and identify the key factors that contribute to their success. By analyzing the spatial dialectics of these centers, we can gain a deeper understanding of how architecture can influence the social and cultural dynamics of these spaces. The research method employed in this study is quantitative in terms of the applied developmental goal and relies on a mathematical simulation approach to analyze the physical geometry of the researched buildings. This approach enables a detailed analysis of the spatial relationships between different building components, such as rooms, corridors, and outdoor spaces. Also, it facilitates the identification of patterns and trends in the data that can inform our understanding of how architecture influences human behavior. This comparison is conducted through field observations and space analysis using computer modeling in DephtMapX software. By analyzing real-world data and using computer simulations, we can test different design scenarios and evaluate their effectiveness in achieving specific goals. Besides, this approach allows us to account for factors that may affect human behavior, such as lighting, acoustics, and temperature. During the research, an analysis of three indicators of spatial dialectics–namely, "integration," "connection," and "access"–was conducted on case samples of the research. The results revealed that the element "interconnection" has a homogeneous value and an average of 4.75. This value represents the visibility and openness of the spaces where there is a cultural center in the vicinity. Furthermore, this analysis highlights the importance of creating connections between different spaces within a cultural center, as well as between different centers themselves. Simultaneously, the amount of "connection" and "access" exhibits significant variety, indicating the number of entrances and diverse paths within the structure of the studied architectural space. This variability reflects the need for flexibility and adaptability in architectural design and a willingness to experiment with different layouts and configurations. Analyzing the spatial dialectic relationship and the success in the function of Tehran's well-known cultural centers underscores the necessity of "physical and spatial integration" and diversity of "routes and accesses" as two effective strategies in architecture.By incorporating these strategies into design decisions, architects can create spaces that are both functional and aesthetically pleasing. Architectural design can be further enhanced by incorporating natural elements such as light, water, or plants into the design to create a sense of connection between humans and nature. Additionally, incorporating interactive elements such as art installations or performance spaces can encourage social interaction and community engagement. Paying attention to spatial organization, functional arenas, aesthetic appeal, and strategically placing space-dividing components using transparent materials contributes to overall use, efficiency, and emotional response within architectural spaces. By prioritizing these factors in design decisions, architects can create spaces that are not only functional but also beautiful and engaging. Comprising technology such as digital displays or interactive exhibits can enhance visitor engagement and provide new opportunities for interactive learning experiences. Incorporating flexible seating arrangements or movable furniture can facilitate different types of activities and events within a cultural center. In conclusion, this research aims to provide valuable insights into the evolution of cultural centers in Tehran by analyzing their spatial dialectics relationship over time. The findings highlight the importance of creating connections between different spaces within a cultural center and between different centers themselves. By integrating these strategies into design choices, architects can develop spaces that are both practical and visually appealing.

Timcheh and historical bazaars are among the commercial buildings of the city, which have played an important role in the trade and commercial exchanges of the cities throughout history, and the physical type of today's shopping centers and arcades is based on the historical bazaars and timchehs, the lack of recognition of the organization The space of these buildings is being forgotten due to the destruction, change of use and reconstructions, and the restoration and unrelated architecture in these spaces has caused the loss of the previous values ​​and the correct recognition of the spatial organization of these historical buildings. Therefore, this research aims to reveal the differences and similarities between the timchehs of the Safavid and Qajar periods in the historical bazaar of Isfahan by understanding the principles of spatial organization and establishment. The main questions of the research are: How are the physical patterns and spatial organization in the Safavid and Qajar timchehs of Isfahan's historical bazaar? What are the patterns extracted from the spatial organization and physical type of Safavid and Qajar timchehs? The present research method is a case study using the descriptive-analytical method and the method of collecting information in the field and documents (library), the results of this research show. The results of this research show that the timchehs of Isfahan market related to the Safavid and Qajar periods were formed due to the developments in trade and commerce and the greater prosperity of trade in the Qajar period. The increase in spatial extent in the Qajar period compared to the Safavid period is evident, and the wider connection between the timchehs and the market halls due to the boom in trade during the Qajar period is one of the physical developments of the timchehs of these two historical periods, the timchehs of the Safavid period are often independent, with roofs., have one entrance and have less architectural decorations than the timchehs of the Qajar period, the timchehs of the Qajar period are mainly related to palaces, have two entrances and have luxurious architectural decorations compared to the Safavid period in Isfahan bazaar.

The physicality of historical houses in Iran have always been affected by various factors of their context, e.g., cultural factors, religious beliefs, rituals, religious approaches, social security and climate comfort, all of which affecting the quality of indoor spaces and formal characteristics in various ways. The orientation of the house, materials and consumables, decorations, hierarchy, geometry, scale, light and illumination are among these characteristics. This paper compares and evaluates the influence of cultural and climatic factors on the architecture of historical houses of the Qajar era in the cold-mountainous and hot-dry climates of Iran. The research method is descriptive-analytical-comparative, through library and field studies. To do so, four Qajar houses with central courtyard and block forms were selected in the key cities of the above climates to compare their contrasting forms, and the way physical and spatial components are affected by different factors. The comparison shows that the form, hierarchies, orientation and use of natural materials are among the indicators influenced by cultural factors in both climates. In the hot and dry climate, the cultural factor most effective on the scale of the house and the functions of the spaces, with materials, compositions, façade and ornaments having also benefited from the climate, while in the cold and mountainous climate, the scale and function having fruitfully been affected from the climate.

The Chalabi Oghlu Shrine with a mystical-spiritual space is one of the structures which is based on the fundamental thinking of the mysticism. And these concepts have influenced the formation of the architecture of this collection. Archetypes are universal facts that derive from human unconscious mind and are integrated in to human conscious mind as a global collaborative information in the form of imagery.The concept of an archetype appears in areas relating to behavior, historical psychological theory, and literary analysis. To break the gap between the apparent and the hidden part of their minds, and to understand the archetypes, humans need the sources, such as symbols, myths, dreams, and memories. Archetypes start appearing when they find content, because they are  empty and have no meaning without content and on themselves alone. Architecture is a medium for the expression of human collective unconscious, universal myths, dreams and memories which act as a symbol in architectural spaces. One of the key archetypes that has been introduced in Jungchr('39')s analytic psychology is the archetype of "process of individuality" that deals with spiritual questions about the meaning of life and the goal of creation. The purpose of this paper is to answer the question of : whether by achieving semantic concepts of these archetypes, can one understand the archetype concepts and how they are objectified in the mystical space of this tomb collection. Based on the purpose of this study, which is the recognition of archetypes semantic concepts, using historical interpretation method, the techniques used in sign perception have been used. The word solouk(a way of conduct in mystical journey) means going, but it is a special kind of going, which has different meanings for different groups. There is a controversy among the mystics about the precedence and steps of solouk(mystical journey).The number of these steps starts from three stages and continues to hundreds of steps. Despite all the controversies, they all agree that the mystic must attain the knowledge of God. With this knowledge he reaches perfection, and this knowledge is obtained by walking through the stages of solouk and desirable achievement. Despite the coherence of  mystical views on the stages of solouk (mystical journey), the basis of discussion and comparison in this research is the opinions of the mystics before the seventh century. In many number of sources, mystical journey has been studied and compared with the archetype of individuality process. Explaining the archetypes semantic concepts, in the gnostic space of the Chalabi Oghlu tombchr('39') collection:1. Archetype "Birth, Death, Reincarnation" The tendency towards the beginning of new life and rebirth has always been of human interest and is one of the most important common concepts created in the collective consciousness of humankind. Jung has also referred to many archetypes in his works, but in the ”Four Archetypes: Mother, Rebirth, Spirit, Trickster” book he gives an example of an archetype that, in most of his other works, has been one of the most controversial archetypes. And that is the archetype of rebirth. In the Chalabi Oghlu Shrine, this archetype has been used in a hierarchical manner and  with physical combination of spaces in addition to the mystical hierarchy, it has been viewed as a symbol of the spiritual path and the desirable end. The path which has started from the entrance and the corridors and the zaviye khademan(cornerstones of the servants) and taliban jannat(cornerstone of heaven volunteers) and with the social activities, which gradually disappears from this state and takes on a personal nature. And After the transition from the spaces of solitary chambers, and samaakhaane(mystical dance chamber), provision is made for entering the tomb. As previously mentioned, this archetype includes within itself innumerable archetypes, such as the individuality process, which is embodied in accordance with mystical conduct in the architectural structure of the Chalabi Oghlu shrine.  2. "process of individuality" archetype As mentioned earlier, the stages of the process of individuality are stated coinciding with the steps of mystical passage which requires knowing the relationship between these stages with the steps taken in the Chalabi Oghlu Shrine and how they are manifested in the architecture of complex.  A. First step: "recall" or "hunt of the self by the inner friend" and confronting Persona (Mask)  In the Chalabi Oghlu Tomb collection: The Poors stage and  The Taliban Jannat(heaven volunteers) B. Second Stage: Meeting the Shadow In the Chalabi Oghlu shrine: Central courtyard, Porch, and solitary chambers C. Third Stage: Meeting Anima and Animus In the Chalabi Oghlu shrine: Sufa (Avon), Altar, House of Jamah (Jam House, and Sama House) D. Fourth Stage: Meeting the "Self" and "Unity with the self" In Chalabi Oghlu shrine: Tomb The physical structure of this tomb complex conforms to the eight levels of mysticism, and the four stages of the "individuality process" archetype. And it is a medium for expressing these truths, which can be manifested in different ways.

The quality of the environment is one of the influential parameters in the efficiency of the universities. Evaluating the students’ satisfaction with the quality of the educational space is a principal criterion in measuring environmental quality. In the current study, using the post-occupancy method, as one of the valid methods in evaluating the artificial spaces, these factors were investigated among the students in the faculty of art and architecture of the Islamic Azad University, Tabriz branch, as one of the largest and comprehensive educational centers in architecture in the region. The current study identifies the solutions to increase the satisfaction of the users with the architectural body and enhance the quality of the educational environment to improve the efficiency of the educational spaces. The study, in the form of applied research, was conducted in two phases of qualitative and quantitative study using library documents and field studies, and resources. The analytical results in the SPSS software showed that the environmental quality is a result of a set of factors that to improve its level which increases through an increase in the satisfaction level of students with the educational space and improvement of the efficiency, paying attention to all these factors is necessary. The results indicate that the manifestation of the cultural symbols and values and inducing the sense of place were the students’ considerations at first. Then, the location of the complex site and the extent of the possibility of using urban infrastructure facilities in the metropolitan area has a direct and positive effect on the desirability of space from the perspective of users.

The rail transport system is one of the most important and main factors of economic and scientific development, during the industrial revolution. In Iran, ways are designed based on cargo and closed to 6% of cargoes are supplant by rails and trains. In the field of passenger, high demand and restrictions in the facilities, have caused decline in providing services. So evolution in the providing services for passengers, is too necessary and serious. In these days, many psychological problems have been occurred, because of increasing the expansion of human societies, that the main results of it, are lack of knowledge and inattention to environment and its impact on human, and also the impact of human and his artifacts on the environment. One of the components of rail transport is station, its building and services. Station is a place that according to the conditions has different functions. The squares of railway stations usually are one of the main and most important urban symbols of cities. Station is the starting point of growing and development and it supplies concepts in an understandable and concrete format for newcomers and belonging sense of citizens, from the cultural perspective. Station despite of the clear definition in the field of science and technical railway engineering, has no specified meaning in architecture, because of its twofold quiddity. The main reason of it, is that in architectural science, in addition to technical principles of building science, the theories of environmental psychology is considered too. Station has various functions and it should present different services and cover people’s objective and mental needs. Most important factors that caused people to preferring a place and not the others, are: safe atmosphere, independence, being natural, having something to learn and social opportunities. The quality and coordinates of a place, can be measured by people’s feeling and excitements. Experts and researchers believe that when some places have a better support for the needs of people, they can be more popular. For example, Passengers in different states of mind enter the station every day and waiting time is usually an unavoidable aspect of the journey for train passengers. At train stations, passengers are regularly confronted with waiting times, which is no fun but often tolerable. Depending on the circumstances, waiting for a service can evoke a wide range of negative reactions, such as boredom, irritation, anxiety and stress. According to the attention model of time, pleasant surroundings and other forms of distraction reduce waiting time. When light, colour, music and digital video screens are used in the right way, it is possible to make time spent waiting on station platforms pass more pleasantly and even to shorten perceived waiting times. So there are many reasons for passengers to be stressed and have bad mood and it is clear that changing these feelings is one of the mental obligations of stations’ atmosphere. As a result, it is important to have the knowledge of environmental psychology’s factors to design the building of stations and especially their interior design.
This study investigates if railway stations in Iran are based on the principles of environmental psychology of passengers or not. The target in this research is determination of standards of passengers by environmental psychology. In this article, according to the hypothesis of incompatibility of stations in Iran with environmental psychological standards, architectural items linked to environmental psychology are analyzed. According to the prepared questionnaires, opinions of passengers, attendances and farewell manufacturers are been investigated. The results has given some suggestions about the design of stations regarding to architecture and environmental psychology. The study uses data collected from passengers in Zanjan and Tabriz stations. A total of 150 passengers from both Zanjan and Tabriz stations, filled out a questionnaire devised by the researcher. The questionnaire included three group questions, that each group had 32 questions. The groups were about physical, service and visual factors. Results indicated that in the current status of Zanjan station, physical and service factors were inappropriate and visual items were average. In the Tabriz station, all of the factors were inappropriate. Also analysis showed that the first preference of the passengers was service factors and the last was visual. The entrance of site was the most important item, and color of walls and floor was the last and it means that it is not very important that what color the walls and roof are. According to the results entrance of site should guide people to main building and do not make the newcomer passengers, confused