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

Problem statement: 

Many countries, including Iran, have developed educational transformation documents that significantly influence educational values and the nature of schools by introducing new content models. In countries such as Finland, Sweden, and Australia, schools are not confined to education but also serve an important social role, offering various resources and services to the surrounding community. However, in Iran, schools have not yet fully embraced this broader function. Research in this area remains limited, and there is no clear or comprehensive classification system for different school types. This research is trying to answer these questions; First question: How do the content models of the Fundamental Transformation Document influence the classification of schools, and what types of schools does it recommend?/ Second question: What are the prevalent geometric organizational models in schools, and what organizational models can the Fundamental Transformation Document recommend?

This study aims to classify schools based on their focus on learning, services, activities, and auxiliary functions, and to determine the appropriate geometric organizational models for school types identified in the research.

This research is applied in terms of objectives and analytical-argumentative in terms of its methods. Data collection was conducted through library and documentary research. To ensure validity and reliability, an expert questionnaire was used. Initially, content models were extracted from educational documents and analyzed based on their focus on education, services, and auxiliary functions, leading to a classification of schools. Geometric organizational models were then set based on frequently occurring patterns of Grutter.

The study places schools into the following categories: park schools, nature-sport-health schools, scientific-research schools, social and cultural schools, and entrepreneurial schools. Social schools represent the broadest category. Eight common organizational patterns were identified. For social schools, a semi-dispersed and semi-free to semi-cohesive and semi-dense pattern is recommended and for other schools, a semi-dispersed and semi-free to scattered and free pattern is recommended.

Problem statement: 

Understanding authenticity in architecture is a significant and challenging topic. Nowadays, this subject has been primarily explored in the fields of restoration and cultural heritage. Discussions regarding the authenticity of a heritage building frequently arise in architectural discourse. However, due to divergent opinions, the vast scope of the subject, and the lack of precise criteria to address the issues related to the authenticity of architectural works, this important topic has often been overlooked by experts. Consequently, many related studies reflect mutual influence and repetition of general ideas.

From the perspective of this study, one of the most important areas that can assist researchers in understanding the nature of authenticity is philosophy. The concept of perception in architecture is one of the key issues in this field, and a precise understanding of it plays a significant role in re-evaluating the process of authenticity in architectural works. Research question of this article is What dimensions does the concept of authenticity in architecture possess based on the levels of perception in Mulla Sadra’s theory?

This study adopts Mulla Sadra’s Transcendent Theosophy as its theoretical foundation, employing a descriptive-analytical method to define the levels of human perception and to identify the process of actualizing the degrees of authenticity. Logical reasoning was used to illustrate the relationship between the concepts of authenticity and perception in architecture.

Accordingly, corresponding to the three degrees of sensory, imaginative, and intellectual perceptions according to Mulla Sadra, three degrees of authenticity are defined in terms of form, concept, and meaning.

Monuments have a history of thousands of years and are usually among the oldest symbols of civilisation in various periods. In the Islamic world, a memorial is created to commemorate a person or an event, which is generally manifested in constructing a tomb, whose wide distribution in the Islamic lands is a testimony to this claim. The building known as "Kakh or Qasr-i Khurshid (Palace of the Sun)” in the city of Kalat in the north of Khurasan Razavi province is an example of this type of architecture. This structure was built on the orders of Nadir Shah Afshar (r.1736-47), although its primary function has always been debated owing to its distinct architecture and decorations. Kalat or Kalat-i Nadiri is known as a natural fortress due to a fence of mountains. So, throughout history, it has always been of interest from a defensive and military point of view. This area received particular attention during the reign of Nadir Shah, and several buildings were erected on his orders. Khurshid monument has always been the focus of researchers in terms of its size and appearance as well as the ambiguity of its function. The octagon includes a series of iwans connected by narrow corridors, creating a series of connected spaces of different scales that encircle the cylinder and are suitable for ambulating around the building. The building generally consists of two volumes: a lofty cylinder and an octagonal. The structure comprises three floors: the basement, the ground, and the first. Previous studies have expressed different opinions about the building’s function. Some consider it a palace, and some believe it was initially built as a tomb, which was later converted into a palace. This study aims to investigate the building's function and main architectural features and determine its place in the history of Iranian architecture. The analysis of the building shows that not only in terms of architecture but also concerning structure, significant measures have been taken for its durability and stability against the risk of earthquakes. The research also shows that the building was not a palace or a tomb, but it was built as a governmental monument with a ceremonial function to commemorate the name of its patron. The research findings show that the Khurshid building is a fusion of Iranian and Indian architecture, which are skillfully linked to perpetuate the name of the building’s patron. The structure characterises the idea of a tomb tower as a monument in a new composition. In this sense, it created a link between the traditions of Iranian architecture and the architecture of the Mughals of India. The wide range of decorations with Indian motifs attests to this claim.

Cinema has been constantly interacting with architecture since the early days of its formation. One of the fields of this interrelation is the exploration of concepts that exist in the theories of cinema and can betraced in the realm of architecture. The “distancing effect” concept, also known as estrangement oralienation effects, and V-effect (Verfremdungseffekt in German) which has influenced many theorists of cinema and filmmakers is one of them. This concept can be defined through an example. While watching a drama, individuals experience sensory and emotional tensions,identify themselves with the actors, and perceive everything as reality. However, this process is disturbed by the “distancing effect”. They become aware that they are watching a performance, and therefore they are separated from the belief that the events are real, viewing the work with a distant and analytical perspective, away from emotional conflicts. In this way, imaginations and illusions dissipate, and the audience remains fully alert with a seeking and active mind,ready to think. The “Distancing effect” has been developed in many art forms to break simple immersion and identification,provokig self-awareness, social awareness, and reflection. The focus of the present article is to explore “distancing effect” concept in architecture, with the aim of interpreting its manifestations in architectural works. The research method is qualitative, based on theoretical discussions in library resources, where “distancing effect” concept has been explained. Cinema has been employed as an intermediary domain for a better explanation of “distancing effect” approaches, allowing architectural instances  be identifiedmore easily. The contents of  sequences from selected cinematographic works have been analyzed. By adapting them to the world of architecture, examples of this concept have been illustrated in architectural works. In this article, five categories of insideness and outsideness, main narrative and sub-narrative, objectivity and spatiality, parallel narrative, and anachronism are summarized, which can lead to the “distancing effect” in both architecture and cinema. In conclusion, it became clear that the “distancing effect” concept is not solely dedicated to literature or dramatic arts, but it can also be revealed in the field of architecture. various works of cinema and architecture from a wide geographical range are presented as instances of the “distancing effect”. As demonstrated, different famous filmmakers such as Antonioni, Tarkovsky, Kiarostami, Wajda, Wenders, von Trier, Mankiewicz, Bertolucci, and others used the “distancing effect” in their works. Notebly, Brecht theorized his concept in the twentieth century, yet many of the buildings discussed in this research belong to an earlier historical period. This indicates that many architects have (un)consciously used this concept in their works as they want to invite individuals to think, explore, be active, interpret, and be aware of what they are observing. Ultimately, it can be articulated  that the work of architecture plays a more significant role, it is not merely a space to provoke our sensations, but also a universe for deep contemplation and thought.

Biomimicry is the imitation of models, systems and elements of nature in order to solve complex human problems. Living organisms have developed appropriate structures and materials throughout geological time through natural selection. Biomimetics, inspired by biological solutions, has given rise to new technologies at the macro and nano scales. Humans have studied nature to answer the problems in our existence. The research method is descriptive-analytical with data tools including library studies and case examples. Research findings have shown that nature has solved engineering problems such as self-healing abilities, tolerance and resistance to environmental exposure, hydrophobicity, self-assembly and solar energy exploitation, that is, biomimicry is an old approach. It is, but it is new in the scientific sense and has played a role in contemporary fashion design and architecture, which has been mentioned.

High-rise construction is one of the controversial issues in the urbanism, both theoretically and practically. The various opinions and the agreements and oppositions that exist for it and the need to take a correct position on this matter indicate the necessity of analysis and Critique of this issue. What makes the issue more sensitive in a country like Iran is the connection between identity, culture, Islamic-Iranian lifestyle and religious beliefs with high-rise construction. The approval of the supreme council of urbanism and architecture of Iran regarding the location and criterias and regulations for the construction of high-rise buildings in the city of Tehran (1400) and its content also doubles the need to investigate this issue. Therefore, these questions are raised: What are the consequences of high-rise development in physiological, social, economic, transportation and traffic, environmental, physical and visual dimensions, and how it is evaluated from the perspective of Islamic worldview, Islamic culture and jurisprudence? How has the approval of the Supreme Council of Urbanism and Architecture of Iran paid attention to the results of various researches and the values of Islamic worldview, Islamic-Iranian culture and Islamic jurisprudence in relation to high-rise construction? What strategies can be pursued to avoid the disadvantages of high-rise construction in the country?The purpose of the current research is to provide an analysis and explanation of the consequences of high-rise construction in the country with an identity and cultural perspective and with an emphasis on the criteria of Islamic worldview, as well as criticizing the approval of the supreme council of urbanism and architecture of Iran, and finally to provide appropriate strategies for high-rise construction. This is achieved by examining the history of high-rise construction in the world and Iran, meta-analysis of various researches on the evaluation of consequences of high-rise construction and precision in the opinions of researchers in this field.The results of the research indicate that high-rise construction - especially in residential use - in spite of the benefits have been mentioned for it, works against its primary goals in the long run and it imposes various negative effects in terms of physical-spatial, environmental, transportation, social, economic, landscape, etc. on the city and citizens. Examining the criteria, principles and values of the Islamic worldview, Islamic-Iranian culture and lifestyle, and jurisprudential opinions also show that high-rise construction conflicts with them from various aspects. This has left extensive damages in social interactions, lifestyle, quality of people life and especially the foundation of the family. Therefore, the development and promotion of high-rise construction is not logical, it does not improve the quality of living in the city, but it also causes its degradation. So, the action of the supreme council of urbanism and architecture in approving the high-rise construction permit in Tehran is not evaluated positively and can be the source of future problems for Tehran. The recent resolution of this council is flawed in terms of theoretical approaches, necessity, goals, possibility, implementation guarantee and content. Most of the goals that are mentioned in the justification of this resolution are due to the acceptance of the current flawed trend governing economic relations in cities, especially in the field of land and housing, which is based on capitalists' speculation, personal gain, monopoly and hoarding in the land and housing market. Clearly, the consequence of such a view results in high-rise construction. While in this regard, it is necessary to reform the economic system of the cities and eliminate the brokerage and speculation market, and the realization of the goals should be sought in them. According to the studies, the following strategies and solutions are presented to solve the damage of high-rise construction and to move away from this model: Short-term strategies and solutions: Exclusion of high-rise buildings to commercial, office and similar uses in specific and planned areas and serious avoidance of allocating them to residential use. Revision of high-rise construction criteria based on Islamic values and the qualities of Islamic-Iranian architecture and urbanism. Prevision of the supervisory institution with a detailed description of duties to monitor the implementation of high-rise construction criteria and also the provision of effective punitive policies in order to prevent the occurrence of violations. Prevision of financial and tax mechanisms to eliminate hoarding of land and housing. Provision of necessary services and infrastructure, especially in the field of transportation and urban traffic in high-rise built-up areas. Long-term strategies and solutions: Revision of land preparation plan considering the existence of sufficient land in Iran and the possibility of sustainable and regulated horizontal expansion of cities and settlements. Adopting economic measures based on Islamic teachings in order to convert land, building and housing from capital goods to consumer goods. Extraction of urban development patterns based on Islamic-Iranian identity and culture and by using the historical records and experiences of cities and hidden semantic values in them. Revival of suitable agricultural, industrial and commercial areas and directing the population of metropolises, especially Tehran, to these areas. Laying the foundation for increasing production and providing facilities for residents of villages and small and medium towns to prevent migration to metropolises and increase reverse migration. Revival of the neighborhood system in the existing high-rise built-up areas and creation the basis for increasing the socio-cultural interactions of high-rise buildings residents, in order to reduce the socio-cultural damages.

Being able to take a lesson means avoiding repeating negative experiences and actions, and taking advice and learning from the positive experiences of the past. Throughout history, architectural works have emerged based on the accumulation of human experiences and have been continuous with trial and error. Based on this, the aim of the current research is to explain the function of lesson-taking in different aspects of architectural works. This research, relying on the method of logical reasoning, seeks to explain the category of learning in architecture in three areas: learning person, the subject of learning and the learning process. Due to its educational function, lesson-taking can act in architecture as a way to criticize, learn and benefit from the positive and negative experiences of past architectural works. The lesson-taking category in architectural works includes architects as the creators of the architectural work and people as the creators of the cultural infrastructure of architecture, who by being trained and equipped with the means of lesson-taking can acquire, transfer and correctly use the information of the subject of the lesson (architecture). The subject of lesson is the semantic and physical aspects of architecture, and from the point of view of lesson-taking, what is good and beautiful in these aspects has the ability to instruct and learned from. It is possible to take lessons from architectural works in a conscious process and based on the means of advisability or unconsciously and relying on mental accumulations throughout history. The lesson-taking process and the way of imparting lessons and tips in architecture occurs more consciously for technical and specialized people (architects) and more unconsciously for ordinary people (architecture's audience).Architects, under the condition of proper and sufficient education during their studies, due to their scientific and technical view on architectural works, can take advantage of positive and negative experiences of architectural works in a more conscious and self-aware manner; but people and architectural audiences would take lessons from the work of architecture unconsciously and unknowingly due to lack of sufficient expertise. This issue manifests itself mostly in connection with historical and remaining from the distant past architectural works that recognition, criticism, and education of them require expertise and historical knowledge. In other words, architects have an easier connection with architectural works from the distant and recent past, and audiences mostly with existing and belonging to the recent past architectural works. By educating and familiarizing the audience with the architectural values of the distant and recent past, it is possible to lead them towards a conscious lesson-taking from architectural works.

The article seeks a meaningful relationship between design-oriented academic courses in Iran, such as architecture and urban design courses, and three normative characteristics namely “Islamization”, “indigenization” and “up-to-dating” as a standard imparted by the Cultural Revolution Development Council in Iran. For this, the article uses ‘Knowledge Mobilization’(KM) as a key global concept to apply those three qualities.  Knowledge Mobilization means more application of knowledge or better use of it, which means reducing the distance between theory and practice. Four steps are recommended in improving the quality of research and increasing its impact in the society:1. Ground the research question or problem in concrete and observable phenomena in order to appreciate and situate its multiple dimensions and manifestations. 2. Develop plausible concepts and models that represent the main aspects of the observed phenomena and that thereby provide a base for new theories to address the central research question. 3. Use appropriate methods to design the research and obtain empirical evidence of the concepts and plausible models for examining the question about the phenomenon being examined. 4. Apply and disseminate the research findings to address the research question from the perspectives of different academic and practitioner users (Van De Ven & Johnson, 2006, p. 810) Examining the impact of this global concept with common initiatives in Iran with the titles of efficiency, Islamic, ruling, local and modernization has not been compared so far. Also, in intermediate knowledge, for example, between the disciplines of art, technical sciences, humanities and social sciences, such as the disciplines of architecture and urban planning, which have a "design-oriented" nature, the distinction of this concept and its application has not been made much either in the world or in Iran. These fields of academia include workshops and studio course formats which makes them totally apart from the other disciplines. The research thus aims to find more effective methods to apply the norms into the courses. The relationship between the educational system, the experts or professional environment and the organizations related to urban management and most importantly the residents and the people can enrich the employment, development and participation. Also, the free presence of academics, professors, and students can introduce world literature and theories to the people with representative planning and implement scientific dimensions. In this way, establishing a relationship between the university and the profession causes employment and more efficiency of students' activities, and their efforts are prevented from being wasted (Noorian and Rezaei, 2015). Abdolhamid Noghreh-kar has shown that the relationship of "Islamic wisdom" with human processes, including the creation of works of art, architecture and urban planning, has five stages (idea, motivation, method, product, effect). Each stage has its sources and foundations, which identifies the direction, goals and results of the whole process. Therefore, the realization of a new civilization with an Islamic-Iranian identity cannot be an imitation of the current situation, the past or other civilizations. Rather, each stage should choose its sources from the Islamic school, i.e. Islamic beliefs and teachings, rulings, ethics, and Ijtihad solutions. According to his "Theory of Salam", every architectural work can be evaluated from two spiritual and engineering dimensions - each in six factors. The spiritual dimension has general, qualitative and top-down characteristics, timeless and placeless conditions. But engineering dimensions have minor features, slightly from bottom to top and interrelated to time and place conditions. According to this theory, every architectural work goes through five stages of creation and in each stage it can be evaluated according to six factors. Out of these five stages of creation, three are knowledge and insight, intention and motivation, the practical method related to the architect. The fourth step is the architectural effect itself and the fifth step is its effect on the audience. Therefore, in evaluating works, all five stages should be measured with six spiritual factors and six engineering factors. This theory was proposed to explain the road map of modern Islamic civilization in the working group of art, architecture and urban planning (Naghrekar, 1401; 1395). The research method is a combination of in-depth interviews and theoretical saturation. First, the texts related to "Knowledge Mobilization" as well as "Experiences in teaching these disciplines" from the 1950s have been reviewed and strategies have been extracted. Accordingly, and based on the three fundamental characteristics of the aforementioned council, the coding content has reached theoretical saturation with the participation of professors and students. It has been determined that Islamization includes localization and up-to-dating goals. To achieve those three, "Knowledge Mobilization" is vital, which is accelerated with the help of "Studio". The link between courses, courses with the profession, society and global science is one of the priorities in the revision of the pedagogy. The relationship of "Islamization" with the designer's social role; " indigenization " with the link between the studio and the society; "up-to-dating" with the cooperation between designers and other professions, the use of modern technology, the publication of texts and the establishment of more research centers. The idea of ​​mobilization of knowledge in the form of a workshop system, planned meetings, use of professors' publications, skill approaches of courses is proposed in the form of pedagogies. The article highlights that the purpose of the Islamization, indigenization and updating in the matter of education should be  "Knowledge Mobilization”, i.e. production, publication, exchange of knowledge, provided that it causes change and improvement of society's policies. This mobilization of knowledge in schools of architecture and urban design will take place with a more effective studio format of teaching.

In order to achieve a comprehensive and complete definition of architecture to identify the hidden facts in the creation of architectural impact is necessary to do some actions to understand two aspects of architecture based on universe and wisdom understanding. Based on analyzing the Islamic wisdom system thesis presenting a comprehensive meaning of architecture. This article has a kind of descriptive and analytic approach from one side of view and in that way, we use analysing of content. This general approach of the article is qualitative and in various processes of doing this research style of logical-analytic approach of description and theoretical choices on the basis of mind and logic and gathering of experts thoughts were used. Analysis and interpretation of experts and schools in relation to defining the meaning of architecture in the style of understanding the universe and life were checked. This approach of the article is analytic and matching. The results generally show that the present definitions of architecture are facts that were made in a special kind of thinking system. These facts because of looking at details of the thinking system have the necessary comprehensiveness and just include some parts of the wisdom system and can be used as human experience in offering the meaning of architecture. Ranking and leveling of results will show that there is a frequent level of understanding of the universe and a group of wisdom understanding in the creation of architecture which began in scientific life understanding and continued to monotheistic life understanding.

Common features and differences in the architecture of different regions are the result of sharing and differences in tradition, religion, culture, lifestyle, and other factors in which architecture has grown. One of the most important factors is the cultural factor and the way of life that has caused different forms of architecture. Among these formal distinctions, we can mention how privacy is manifested in architecture, which is manifested in different ways according to culture and beliefs, lifestyle, as well as climatic and natural conditions. Examining the sources shows that there is not much affinity between the concept of privacy in Western culture and the concept of privacy in Eastern culture.

The application of geometric patterns in Iranian art and architecture has a long history. The design of geometric motifs, especially after Islam, has been employed to determine the dimensions of the structures and to obtain the desired proportions. The design of the structure is basically based on regular geometric shapes and their combinations, and among these shapes, regular pentagons play a more aesthetic role. The present study distinguishes and deals with the geometric analysis of mosques’ design and optimization in different periods of time which was performed on the structure of pentagon geometry. The mosques of Tabriz, built in different historical periods, were selected to study the adaptation of pentagonal geometry to the structure of mosques. The majesty and aesthetics of the buildings indicates that the architectures have skills on various sciences, including geometry and mathematics. Looking closely to the eight mosques from the Seljuk to the Safavid periods in Tabriz shows that the main problem in this study is adapting the pentagonal geometry to the structure of the mosque, both in plan and elevation.Furthermore, it will be investigated whether the pigeon geometry is used in the same way in all eras or whether the predominance of this structure can be determined in specific eras.The results show that the design and construction of the four Mosques including (Saheb-al-Amr, Kabood, Zahiriyeh, Haj Safar Ali) have been employed the Pentagon geometry effectively in both plan and elevation. The other mosques did not adapt the Pentagon geometry. With reference to the era of the mosques which has the conformity with the Pentagon geometry, it is clear that the Safavid architectures have been applied the Pentagon geometry more effective and prevailing than the other periods.

The issue of education in Iran has a long history and schools are an important part of the country's historical buildings. The period of transition from Qajar to Pahlavi I is not only important because of the end and beginning of two kingdoms; Rather, this era is considered due to the fundamental developments and changes in various political, economic, social and cultural dimensions and as a result the changes in architecture and urban planning that occur in this era. Historical sources point to several factors as the roots of this development. the most important of which are the improvement of political and economic relations with the Western world, the arrival of foreign teachers and religious missionaries to Iran, etc. The set of these developments directly affected the culture and education of the society. Following these developments, new goals and nature for education were proposed and the school buildings which with their traditional architectural model seemed unsuitable for the physical needs of the new educational system, was abandoned at once and the design of the schools was done in a new way. Knowing the architecture of a historical species such as schools is mandatory in any place as a part of the historical and cultural identity of the people of that land. Because it results getting familiar and discovering the hidden features in the architecture the schools of that region and paves the way for future researches. Guilan like other regions of Iran underwent many changes during the Qajar and Pahlavi historical periods. Due to these developments the architecture of its schools was also affected. The purpose of this research is to identify and analyze the architectural changes of Guilan schools and the factors affecting these changes in the mentioned period. In this research, with a descriptive-analytical method and based on field and library studies to identify and describe the schools of Guilan including: Shahid Madani School and Shahid Marhaba School in Astara, Shahpur School (Shahid Beheshti), Forough School, Maryam Elementary School and Shahpour or Shahid Beheshti School in city of Rasht - Shahid Madani School and Shahid Marhaba School in city of Astara - Sharaf School in the city of Bandar_e Anzali. in the Qajar and Pahlavi period. Recognizing the spatial features of the mentioned schools indicated that simultaneously with the progress of the educational system in the transition period from Qajar to Pahlavi new spaces were created in accordance with the new educational functions in schools which were unprecedented before. Due to the influence of the government of the time on western ideas the new schools of Guilan in this period were generally built in the European style.

Individual creativity is an acquired ability and improving the level of creativity of people is considered one of the quality indices of learning. Nowadays, expert and creative human resources are known as the most important organizational property, which can lead to the improvement and sustainable development of the organization through the conscious modification or change of organizational functions and processes. Since today’s students are the future builders of this country, therefore, it is very important to pay attention to the conditions of the educational environment as one of the important and effective components in improving the level of creativity of students. One of the determining factors in creating a sense of belonging to the school is the use of appropriate colors in the school spaces. The colors have different effects on people and this depends on their moods and feelings. Therefore, it is very necessary to use colors that suit the mental and psychological needs of students in school spaces and furniture. In this research, the effect of the painting of the educational space on the level of mental creativity of the 10th-grade students of the Interior Architecture school of 17th Shahrivar school of Karaj has been investigated. Torrance’s creativity test was used to measure students’ creativity. For this purpose, the number of 16 students from a total of 67 students studying in the desired school were selected randomly. The students were assessed in two stages (before and after applying the painting of the educational space). The scores obtained by the students were compared using the Wilcoxon non-parametric statistical test at a confidence level of 95% in the SPSS 22 software. The results showed that the painting of the educational space had a significant effect on the student’s creativity level (p < 0.05) and the average increased and decreased sores of the students were 11 and 4, respectively. The results showed that the painting of the educational space had a significant effect on the student’s creativity level (p < 0.05) and the average increased and decreased students’ ranks were 11 and 4, respectively. Since colors have physiological and psychological effects on humans, with proper understanding and proper use of them, it is possible to help the creativity of learners. Paying attention to improving the level of creativity of students in the basic educational levels, through the training of creative and efficient experts in the future, can lead to a suitable platform for realizing the goals of sustainable development of the country.

Since the air inside the hospital can have a significant effect on the health and recovery of patients, air conditioning and control of hospital infections require a deep understanding of the principles of indoor ventilation and microbiological interactions. In this regard, improving knowledge on the effect of ventilation and design of hospital spaces on infection control emphasizes the importance of balancing architectural science and medical science in the field of improving treatment environments and reducing the effects of infection. This study is based on qualitative methods and according to analytical and descriptive approaches and aims to identify factors affecting the indoor air quality of the hospital, evaluate the effect of these strategies on reducing the prevalence of hospital infections and improving the quality of treatment environments, and examine the current strengths and weaknesses in the hospital ventilation system in terms of control. Infection evaluates the effect of air flow and air conditioning systems on the control and management of these bacteria in medical environments using methods such as interviews with experts and data analysis. In this article, designers and architects are advised to consider air conditioning not as a supplementary solution but as an essential part of the design process. The results of the research indicate that cooperation between architectural, engineering, and medical experts can lead to the creation of smart and effective solutions to fight diseases caused by infections and improve the health level of society. The innovation of this research probably includes the connection between two different fields, that is, architecture and public health. This innovation can create a new vision for the design of future hospitals, which will also help increase hospital safety and reduce infections. This research points to the connection between two different fields, i.e. architecture and public health, and can possibly help improve the design process of hospitals and improve community health. This type of cooperation and coordination between different providers not only helps to improve the quality of medical environments and reduce the spread of infections, but also helps to improve the performance and safety of hospitals and ultimately to maintain the health of the community. According to these cases, analysis and investigation of cases related to the effects of internal ventilation of hospitals and promotion of coordination between the areas of architecture and health can be one of the main solutions for improving and developing health and treatment services. This research bridges the gap between architecture and public health, offering innovative insights for future hospital designs and enhancing overall hospital safety and infection control. Through enhanced coordination and cooperation, the quality of medical environments can be improved, leading to better community health outcomes. Analysis and investigation of hospital ventilation systems and closer collaboration between architectural and health sectors are key steps towards enhancing healthcare services and promoting public health. The study also emphasizes the importance of air conditioning not just as a supplementary solution, but as an essential part of the design process in hospitals.

Avoidance of symmetry in Seljuk brickwork is one of the accessible but Difficult to understand concepts of Islamic art. The use of bricks in a variety of geometric designs without observing the principle of symmetry in the edges of the building led to a dramatic change in the structure of the brick arrays of this period that has never been experienced in any historical period in Iran. Note that changes in the artistic structure of a traditional society do not simply take place, and the coincidence of these with the height and perfection of Iranian brick art has caused a contradiction in the art of this era that has so far received little attention. However, the Seljuk era brick work debate has been a highly repetitive topic in domestic and foreign research, and despite the principle of symmetry in Iranian art, little attention has been paid to the issue of Avoidance of symmetry in Seljuk-era brickwork Explaining and interpreting this deconstruction of the new social class (middle class) as the sponsor of production that followed a new taste is of great importance. Sponsors' taste and bricklayer enthusiasm for displaying their ability, created the style of pop art in brickwork of that era that's like all the pop arts was influenced by social structures and with the political and social changes after the Seljuk era Immediately forgotten. This research aims to reveal new aspects of Seljuk-era brick art that have been neglected so far. This research is based on historical-interpretive method and based on library resources.

Holy sites have a special sanctuary in cinema; for example churches or mosques; they each assign functions to themselves. To focus on this position can be counted as a relevant research field (in both cinematically and historical background of these holy sites). Although mosques are a place to worship and pray, but in Iranian cinematographic films, they have different functions in various fields like devotional, social or even sometimes economical. The aim of this research is to demonstrate what are the artistic features of mosques in Iranian movies and what social functions do they have? Besides these, it is also important to pay attention to the appearance and physics of these places. For example although it has a well-known identity in the point of exterior and interior architectural view, which has had a tune of change throughout time, but its functionality still stands with saving the primary philosophy. This meaning is other than the functions that were mostly social in nature and changed later on. This comparative research has been carried out by both survey and descriptive-analytical methods & has examined the cinematographic works from this point of view, in two periods before and after the Islamic revolution in Iran. In the examined examples of movies, the key works of both periods have been selected. The main question is: How can we study or examine the physical & functional capacities of mosques in Iranian cinema and achieve a comprehensive and correct analysis in this regard.

 Historically, architecture is considered the first art that was able to adapt itself to Islamic concepts, and was welcomed by Muslims. The favor of Muslims towards this art caused it to include religious and religious concepts as the only Islamic art for many years. After the rise of Islam, Muslim architects tried to present art that was formed from their beliefs; Therefore, in their works, they used the spiritual capacities available in Islamic sources. By using these capacities, which included divine messages, Muslim architects tried to use their works as a medium for spiritual elevation and spiritual progress towards the divine kingdom. Its manifestations can be seen in mosques, schools, tombs, baths, forts and markets. The appearance of Islamic thoughts, beliefs and values ​​in the bricks and corners of this architecture is another part of the manifestation of the essence of the Almighty in the life of a Muslim. The fundamental concepts and theoretical foundations of architecture derived from the Qur'an and the manifestation of the Qur'anic culture in the history of Islamic architecture have been a manifestation of the Muslim architects' understanding of the interaction between architecture and culture. This article seeks to answer the question of what is the role of spiritual values ​​in Islamic architecture and how can they be manifested in architecture and urban planning? Therefore, architectural capacities have been examined in the light of Islamic thought. The purpose of this research is to extract and express the spiritual capacities found in religious sources and their realization and manifestation in Islamic architecture and urban planning, and since Islamic urban planning is one of the essentials of creating an Islamic life, the findings of this article are aimed at improving the architecture of the residential space. will be used.

In this article, using the exploratory method and the descriptive-analytical approach, and using library tools, the capacities and spiritual values ​​that are effective in the design of architecture and the Islamic city in the society of living spaces in Iran, their extraction, manifestation and presentation are examined in the field method. The analysis is done.

 Islamic architecture derived from diverse spiritual capacities and values ​​can help in providing a suitable context and model for the promotion and dissemination of Islamic culture. In this type of architecture, every element evokes and illuminates thought and leads people towards spirituality. Simplicity and impartiality, avoiding unnecessary complexity and attracting attention, reviving and preserving the heritage of the past, compatibility with national, local and religious culture, paying attention to inner affairs while beauty and art, balance in form and compatibility with human nature, while diversity and Dynamics, prevention of distortion, humiliation and weakening of religion through architecture, attention and non-compliance with western style, symbols and methods in urban planning, architecture, decoration and interior design are among the results of this research. By relying on his experiences, thoughts, creativity and aesthetic spirit on the one hand, and the manifestation of spirituality and sacred concepts on the other hand, by creating an original work full of spiritual concepts and themes, in a material space and structure, a Muslim architect can succeed in to guide today's confused man to his destination through architecture and urban planning; Therefore, considering the richness of religious and spiritual teachings derived from Islamic sources, it is suggested that those involved in the field of architecture and urban planning in our country should make more and more serious efforts to recognize the capacities and spiritual values ​​and make policies in this direction in order to achieve the desired design of various places.

Influenced by the prevailing understanding of architecture, we take the relationship between humans and architecture for granted, but this understanding has also obscured some aspects of this relationship. In this research, we have studied the relationship between humans and architecture based on the philosophy of Seyed Mohammad Hossein Tabatabai. The main question of this research is: ‘What is the relationship between humans and architecture if we look at the world from Tabatabai’s philosophical point of view’. Until now, previous researches have never considered architecture or the relationship between humans and architecture from this point of view and based on these theoretical foundations. The only relevant example is this author’s doctoral dissertation entitled Architectural History as Knowledge, in which Tabatabai’s theoretical apparatus was used to clarify the relationship between architecture and history and to understand what architectural history is.

The research is non-quantitative with its main method and strategy being rational reasoning, based on Tabatabai’s method and philosophical research methodologies. Nevertheless, the thematic analysis method is also used for exploring the theoretical foundations of the research and extracting main concepts from the mentioned philosophical sources and explaining them. We have first clarified the main terms of the discussion, that is, the meaning of ‘human’ and ‘architecture as a human practice’. Then we have introduced a part of Tabatabai’s theoretical system which includes his philosophical worldview and the relationship between humans and their practices. We have then tried to explain the concept of architecture in terms of Tabatabai’s way of looking at the world. Finally, we have described the relationship between humans and architecture from the perspective of Tabatabai philosophy.

The research shows that in Tabatabai’s worldview, firstly, architecture is among human crafts, one of the possible movements (Harkat) in the world, and secondly, whenever humans engage in architecture, whilst manipulating the world’s materiality, they also change themselves; at the same time establish something in the material world, they also build their own souls and accumulate knowledge, and in this way attain perfection.

Ghahveh-Khaneh (Coffee house) painting is one of the most prominent manifestations of folk art. This style of painting is specific to painters who, despite their lack of education, succeeded in communicating what they had in mind through their special painting skills. Their thoughts originated from their pure perceptions of the social environment. In other words, imaginative Ghahveh-Khaneh painters (Khiyali-Negar) chose the themes of their paintings from the heart of society. On the other hand, architecture is a conveyor of life, and life, in all its forms, is only well expressed in architecture. Therefore, traces of architecture and all its aspects can be found in every work of both formal and folk arts. Similarly, due to its direct connection with the general public, coffee house painting is worth a search for traces of architecture in it. Therefore, the research problem started with the idea of ​​examining the architectural spaces in Ghahveh-Khaneh paintings, but later, it went beyond the limits of spaces, toward architectural concepts, components, elements and decorations. The main objective of the present research is to examine the architectural aspects (spaces, components, elements and decorations) of Ghahveh-Khaneh paintings; categorized based on painters’ generations and their painting themes. The research questions are: 1. How has the generation change of Ghahveh-Khaneh painters affected the architectural Ghahveh-Khaneh paintings? 2. How have the painting themes affected the architectural Ghahveh-Khaneh paintings? The method employed in this research is a combination of historical and descriptive methods, combined with analytical methods. Documentary studies of this research started with resources available in Astan Quds Razavi Library as well as other databases. In the first stage, regardless of the architectural aspects, 215 paintings were collected. Next, emphasis was directly put on paintings that illustrated the architecture, and 55 paintings of the first and the second-generation painters with various themes were selected from among them accordingly. The independent research variables include architectural concepts (shape, space, and order), components and elements (structural and architectural), and decorative elements. According to the research questions, the dependent variable is the degree of imagination in imaginative painting (Khiyali-Negari). After choosing the paintings, they were examined based on their architectural components and indicators, and the findings were later analyzed using descriptive statistics. Ghahveh-Khaneh painting is a form of folk painting that holds a special place in the contemporary art of Iran as it originates from the heart of society. This type of painting generally has religious, combat, festive, and folk themes. This form of painting dates back to the end of the Qajar era. After the constitutional revolution of Iran, which raised public awareness, more attention was paid to folklore. At the request of the people and based on the orders placed by coffee house owners, the Ghahveh-Khaneh painters recreated the epic spirit and the history of the bravery of the Iranian people in this popular environment. Ghahveh-Khaneh paintings demonstrate numerous indications to help understand architecture, especially in terms of space, geometry, function, structure, and decorations. In terms of architectural demonstration, the paintings are generally divided into three categories. The first group includes paintings the main theme of which is architecture. The second group includes paintings the theme of which is not architecture; yet, they depict detailed architectural information. The third group includes paintings that neither have architectural themes nor happen in a built environment. The connection of such paintings to architecture relies on the painter's perception and imagination of the spaces. In the present research, three important aspects of architecture, i.e. architectural concepts, components and elements (structural and architectural), and decorative elements in Ghahveh-Khaneh paintings have been investigated. The study demonstrates that the degree of imagination in the paintings of the first generation painters is lower than that of the second generation painters. On the other hand, the degree of imagination in combat paintings was higher than other themes. The authors suggest finding the reasons behind these findings as a topic for future research.