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

In the contemporary era, one of the most obvious cultural features of contemporary philosophy is the phenomenon of modernity and as a style, modernism thinking. Modern architecture, which was formed based on the evolution of the traditional society, industrialization and change in the way of life and people's views in the West, is a style that has influenced the architecture and urban planning of Iran more than other western architectural styles. This modern view, followed by modern and academic architects of the new generation, has had a great impact on the design of buildings, including the design of mosques. One of these most important effects is the change in the form and spaces of the building in the contemporary era. Meanwhile, there are many variations and imaginative patterns in design, and mosques cannot be considered to have specific shape characteristics. This article aims to recognize the design trends of mosques in the contemporary era with the influence of modernity on such designs, and by identifying indicators and by describing and analyzing the design, it has classified them in a way. The research method in this article is descriptive-analytical and the method of collecting information is library and documentary. Finally, based on the investigations carried out in this way, it can be acknowledged that some special works in architecture (such as shrine buildings) have a stable core that is beyond time, which can be considered the soul and body of the imitation work.

Every film inevitably takes place in an architectural space. Throughout the history of cinema, it is difficult to find works that do not contain any architectural elements. From this point of view, the use of architecture is very important in order to comprehend and understand a film. This study aims to investigate the impact of modern architecture on the mise-en-scène of the movie “Playtime”. The two main questions that this study intends to answer are: “How and by what elements modern architecture has influenced the mise-en-scène of the movie “Playtime”? and “How and why Jacques Tati has introduced modern architecture into the film?”Although architecture in cinematic works has always been present, the study of architecture about a film becomes valuable when the buildings used in that film have a particular and meaningful role in the film. The importance of the movie “Playtime” is that it seems impossible to understand this film, without considering the function of modern architecture in its mise-en-scène, and it is necessary to consider two basic conditions: familiarity with the language of modern architecture and acquaintance with the visual language of cinema, especially the function and meaning of mise-en-scène. Modern architecture, by its special features, has inspired Jacques Tati to use certain features in his mise-en-scène in the movie. The theoretical framework of this research is the functional similarity of architectural elements and mise-en-scène. At the beginning, a brief description of the historical course and features of modern architecture is provided, and then the theoretical issues of mise-en-scène and its overlap with the components of modern architecture are expressed. The purpose of this study is to investigate the function of modern architectural components in the mise-en-scène of “Playtime” with emphasis on their cinematic performance. It is modern architecture that, with its features, determines the proportions of the story. The results of this study indicate that Tati's visual comedies have fully exploited the potential of the use of modern architectural elements in mise-en-scène, comedies that are the basis of Tati’s satires on the inefficiency of modern architecture.

In the seventeenth century, Descartes turned attentions from objectivity to subjectivity. Modern architecture is usually tied to the concept of abstraction, and less can be learned from semantics and signage in modern forms than in previous eras. The language that may ultimately create a culture for designing moods based on culture with more claims to a sense of the world is poetic or literary language, the basic unit of which is metaphor. The architect, by adopting strategies that use metaphorical language, begins to design places related to culture. In architecture, the subject is not just a building, but the meaningful event that exists, life itself. The language with which architecture can make the living space meaningful is poetic language. Take advantage of metaphor is the best way to express poetry poetically in architectural design. The research method is analytical, descriptive and qualitative; The main question of the research is: "Can we get rid of modern architectural crises with poetic language and metaphorical element?". In order to answer this question, the sounds of architecture, the voice of the architect and the use of metaphor in architecture were examined. Then, with the help of sorting the types of metaphors in architecture in three forms: tangible, intangible and combined, the examples of contemporary architecture were examined. The result of this research shows that the way out of the modern architectural crisis that has been faced in the last fifty years is to engage hermeneutics and pay attention to poetic language in architecture. Architects use metaphor as a strategy towards creativity; Because in the modern period the focus was on the scientific and mathematical approach, few people paid attention to the poetic concepts of the works; However, by examining some works, a poetic approach was observed and it was shown that architects use metaphors in different ways and use different interpretations to turn them into visual images. In fact, the metaphorical nature of the architectural form extends to the contemporary period, and what is omitted due to abstraction is the tangible expression of metaphor.

The heritage of early modern architecture in the first Pahlavi era, represents the concept of identity in a new domain which could be attributed to discontinuity of traditional Iranian architecture. Historical architecture in the first Pahlavi era is one of the first attempts made to protract the identity of Iranian architecture in its new shape. The present study was an attempt to retrieve the roots and levels of the historical approach in the first Pahlavi era to explain how identity remains embedded in the modern architectural heritage of this era.

in the present qualitative study, a descriptive-analytical approach is used to decipher the relationship between the cultural values of modern architectural heritage and the concept of identity in architecture. Using relevant documents, the researcher has tried to explore the trend of architecture formation in the Pahlavi era. By studying library sources, the researcher has also tried to analyze the concept of identity in architecture as well as components affiliated with that. In the next step, an inferential approach is used to investigate the relationship between historicism and identity development in the modern architecture heritage and the results are used to analyze a series of selected buildings associated with the historicism current of the first Pahlavi era.

Imitative, schematic and conceptual historicism are three components of retrospective approach that are directly correlated with different levels of identity: formal, inferential and semantic.

In the architectural heritage of the first Pahlavi era, Identity is, from a historical perspective, formally transferred through a direct perception and objective adaptation to the attributes of historical architecture in Iran. In the wake of that, another group of buildings was formed, which transferred identity through content representation and as a result of indirect use of Iranian architectural elements and the refinement and abstraction of historical components. Despite emphasizing on similarities, these buildings actually depict a cultural distinction in architectural heritage of this era.

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.

This study aims to explain the idea-product correlation in the process of evolutionary construction and computational approach. This research is based on the criterion of purpose in the group of applied research, based on the criterion of time of data collection in the group of survey research. The statistical population of this study includes people who have a history of research and study in this field and the information obtained through this has considerable validity and reliability. The sample size in this research using SPSS SAMPLE POWER software is equal to 200 people and Sampling method in this study is simple random sampling. Data analysis tools are questionnaires of SPSS & AMOS software. In order to test the research hypotheses, the first-order sample test and factor model have been used. The findings of this study showed that; Achieving the solidarity and coherence of the idea-product process at the present time depends on the correct use of the evolutionary construction approach and the computational approach. The variables in the designer include conjecture, evaluation, and decision making, while the computer-dependent tool variables include performing complex calculations and presenting multidimensional and complex designs. In the present age, despite software advances as well as the use of various approaches such as evolutionary construction and computational approach, designers are less successful in linking their ideas to the final product.

Physical attributes have always been a qualitative indicator for evaluating an architectural work. These character influenced by function, technology and changing the process of creation and perception of beauty in modern times; and influenced by content, culture, history, meaning and symbolic linguistic structures in the postmodern era. In accordance with the evolution of aesthetic theories since the early twentieth century, several styles in architecture have rapidly replaced each other, in which aesthetic information and semantic information have different proportions. The purpose of this study is to recognize the evolution of aesthetic ideas from the twentieth century and to explore the relationship between these ideas and the architectural style changes of this period. The main question is how the developments of modern and postmodern aesthetic theories have influenced the stylistic developments of this period? So in this qualitative research, modeling in this field has been done through logical reasoning and a comparative study was done. The results show that the main point is the change of formal approach to semantic approach in aesthetics, from modern to postmodern, which is also evident in the architecture of this period. Among this spectrum, three factors of function, technology and culture have played a significant role in changing the aesthetic structures of architectural styles

The present study, using descriptive-analytical method and using library resources, applying an interdisciplinary approach, seeks to make it clear that viewing spectacular views and surface effects of modern urban life has created a new aesthetic pleasure that formed to the pleasure of cinematic spectatorship experience. The study examines the ritual of attending to cinema in relation to other features of metropolitan life - such as modern architecture and urban planning, urban neon lights, advertising posters and billboards, rituals of window shopping. Hence, the research especially focuses on the spatial-visual features of the modern metropolis of Berlin in the Weimar period. The urban sphere of Weimar Berlin was, according to many theorists, one of the most brilliant crystallizations of urban modernity. In this regard, the paper particularly draws on the observations of Siegfried Kracauer, the theorist associated with the Frankfurt School. Considering the fact that in the issues related to urban modernization and the characteristics of the modern metropolis, the characteristics of the Berlin metropolis in the Weimar period are focused in this research, then in the final part Berlin: Symphony of a Metropolis (1927), by Walter Ruttmann is used as a case study of the topics covered in the article, and the representation of the urban experience in the images and scenes of this film will be analyzed. Many of the metaphorical issues raised in this work can be clearly traced in this work as one of the most brilliant films of the "urban genre" of the Weimar period. Examining the scenes of this film, especially the images of the fifth screen of the film, which focuses on the charms of Berlin's nightlife, it was found that Rothman's conscious work often refers to the cinematic quality of the modern city and this aspect of the metropolitan experience Is emphasized.

Ornament, has a special role in the understanding of the user, in the scale of the building, its function, and structural expression, so that the amount of ornament used, the location and the relationship with the components of the building, make it an effective and special element in the history of architecture. Shortage of coherent studies between ornament and mentioned factors caused this research to done.  The question of whether ornament can influence the perception of the user in understanding the above factors is important. Therefore, the present research hypothesizes that in the periods of history, the ornament has been in the pursuit of goals such as functional clarity, scalability, and clarity in the structural expression, and in periods has disconnected with clarity of these factors. Previous studies have surveyed ornament from the point of geometric dimension and semantics without considering these three factors mentioned above. This paper has a comparative- analytical approach. Accordingly, the components of "scale", "functional clarity" and "structural expression" are described with a focus on the subject of "ornamentation" in the two periods of modern and postmodern architecture, were surveyed using content analysis and referring to written and visual sources of Architectural examples of each two periods (Famous works by vanguard architects). The comparison is carried out in two phases of qualitative (for some famous building) and quantitative (by a checklist) methods in architecture. Selecting and evaluating the selected statistical society was done in the form of a checklist. The criterion for completing the checklist was based on logical reasoning and the authors' assessment of the available evidence. In selecting case studies, at first 100 samples of buildings - 50 samples for each period - were selected as target samples. The reason for being targeted at this stage has had the selection of the appropriate works of the famous architects. Then, 50 cases (25 samples for each period) were selected randomly to achieve the validity of the samples which was used in the quantitative evaluation. Then, among the works of the indexes of the mentioned periods, some of them were purposefully explained the results and their quantitative description.  Finally, it was concluded, from quantities and qualities analysis, that the type of ornamental approach could play a role in understanding the scale, functionality, and structural expression. In modern architecture, the style of Chicago school, there is an organic approach to ornamentation, it has united with the materials and to increase the effective exposure of the three indicators considered in this article. Also, in modern European architecture, with the removal of ornament is emphasized on the clarity of the scale, building function and in the expression of the structure in most works of that period. But in postmodern architecture (initial and shell oriented postmodern), with the disconnection of the decorative shell with the interior space and orientation of the decorative wall to the environment and the effect of it, a different approach was seen and vice versa than in the previous two periods.

Undoubtedly, the current trend of modernism in the late twentieth century has been criticized by architectural journals. These critiques have moreover shaped postmodern architecture and also have represented the currents of the theory of pro-modernism. Oppositions -as the most well-known architectural journal in the late twentieth century- has included a variety of authors and critics from both perspectives. The question is: “During the activity of Opposition, what approaches does this journal take to the critique of modernism?” With this attitude, an attempt will be made to study the position of Opposition in the formation of after Modernism architectural theories. It can be argued that Oppositions journal with a wide range of authors, (“Peter Eisenman”, “Kenneth Frampton”, “Rem Koolhaas”, “Rafael Moneo”, “Aldo Rossi”, “Colin Rowe”, “Denise Scott Brown”, “Manfredo Tafuri”, “Bernard Tschumi” and others) each of which later became the pioneer of various types of theory of after Modern architecture, could be a good example for evaluating the current governing architecture theory at that time. Research

The purpose of this study can be considered as the study of the ideas of critics who in an influential period, figured out the theories of after Modernism architecture.Research

The method of research in the writing of the theoretical framework is logical reasoning; and to analyze the findings, the method of qualitative research and content analysis has been used.

Opposition have been in a mutual relationship with architectural theories after the modern course and it has had a very critical role in shaping such theories. The attempts for theorizing- and not historiography of- the existing architectural trends with interpretive perspectives confirm the importance of the journal of Oppositions in that period. However, in the middle years of the journal’s lifetime, the neo-modernists’ impacts and their praise for independent economics, globalization and technology can be grasped in the texts, in either beginning and last years of the publication (due to the influence of postmodernism and the critical regionalism approach) the terms of contextualism, culture and society have shaped the keywords of Oppositions.

In the history of architecture, since the architects sought to enter the light inside and as a result, its relationship with external conditions, the concept of transparency has been studied. Therefore, elements such as glass have been used to create transparency and entering the light. But because of lack of technical knowledge to achieve that goal, the less successes have been achieved. By the beginning of Modern architecture in the world, some new words come into the literature of architecture such as the theory of transparency in architecture. Actually transparency is an expression of the thoughts and ideals of Modern architecture in the shape of own self.
On the other hand, deployment of transparency in the form of glassy architecture, created the base of criticism for its widespread use by critics of modernism. Colin Rowe and Robert Slutsky in the article “The Literal and the phenomenal transparency” presented an integral definition of transparency that could help Postmodern view about transparency. At the first, they classify the Literal transparency as the perceptual or spectacular one, and phenomenal transparency as the conceptual or readable one. Literal transparency actually refers to light permeability of materials and Interference indoor and outdoor spaces. A concept that could be considered as influenced by cubist painting techniques and aesthetics of Modern architecture.
The other statement of transparency, which is often used in the architecture of most of the world, is traction and appeal to create a sequence of spaces inside and outside the building. Which we can see the appearance of a perfect sample of it in Iranian architecture. In Iranian Islamic architecture that the valuable and exalted heritage of our ancients was the concepts of light and its different forms of that in wisdom, philosophy and art, not only before Islam but also after that.
The question is that how was transparency in Iranian Islamic architecture and what are conceptual differences between modern and postmodern architecture with Iranian Islamic architectural transparency. Transparency is among most important architectural issues that are rarely addressed. This importance is because of the comparison of some viewpoints about concept of transparency in the eras of Modern, Post-modern architecture and Iranian Islamic architecture to achieving principles of the formation of the concept and its types with aim to precise definition of structural concepts of objective and subjective.
The Article based on analyzing texts and collected data through librarian search and some documentaries. To narrow the scope of work, the evolution of transparency in the modern and post-modern movement. At first express types of transparency in modern architecture, postmodern and Iran›s Islamic architecture then study Comparative Comparison them and finally, explain and evaluate the transparency of Iran›s Islamic architecture.
This article expresses some kinds of transparency and divides it to Three Categories: Literal transparency, Phenomenal transparency and Semantic transparency and then analyses the philosophical and aesthetic based on architecture of modern, postmodern and Iranian Islamic architects. In this paper, we try to describe the features of transparency by considering of this parameter in modern architecture. After all, transparency in Iranian Islamic architecture is based on the concepts explained. With this method, the use of transparency in each of these eras has been explained and then used in a timeline, and finally examined the evolution of this application.
About achievement of this study to previous examples can be cited to this point what›s that Spatial transparency in the evolution of Iranian architecture introduced by Hadi Mirmiran, which means increased space and reduced material is on properties of Literal transparency more and based on the theory of modernism and is similar to Bruno Zevi,s view.
While results of this study, in addition to the above, in Iranian Islamic architecture, phenomenal transparency and semantic transparency are more and existence of major mental clarity (not objective). In the Iranian Islamic architecture and contrary to the last ones, we can give a hint, that the explanation of Iranian architecture with the modern architecture’s language instead of its Islamic and Iranian language is so wrong. Actually we ignore and connive at some parameters by this viewing. In fact, with dealing like visual material these concepts, a lot of deep cultural concepts in Islamic architecture will be ignored.

The industrial revolution and greed of man to man and contact the irreversible nature, on the left; After that, environmental issues, endangered species of animals and humans were social issues into consideration. Then they took action to prevent these problems and decision to sustainable urban development. In some developed countries, policy makers, solutions for cities, in order to solve social problems and reducing energy consumption and presented. In this regard, the Iranian traditional architecture, in the past were thought solutions for sustainable cities, which, unfortunately, this traditional patterns seen in contemporary architecture low. One reason for this lack of comprehensive principles for sustainability old town as well as the implementation of the principles of modern contemporary and traditional tastes far people are in contradiction. In the research process, human societies from resorting to sustainable development in the area of environmental, social and economic investigated. Then - five sample cities, Copenhagen, Oslo, Curitiba and Msdar- the development of sustainability policies adopted “Agenda 21” is harmony, is studied in detail. Then, in ancient Iran and 5 examples of sustainable cities of the modern world are compared and the common and non-common (new approaches), applicable both to run in Iran have been extracted to help implement traditional architecture Iran its modern form. In the end, the principles and guidelines in the field of environmental, economic, social and related subdirectories in order to stabilize in contemporary Iran, is provided.

Today, technology manages all aspects of human life. This matter has gone as far that some philosophers believed that soon the human and the world would come to conquer the world. Therefore, different approaches to technology have been developed. Substantially, before the construction of Centre George Pompidou (1970-1977), the pivot role of technology in the architecture was not released to the public. However, Renzo Piano and Richard Raggers reminded to all the major development of the present century. The presence of technology in architectural drawing had gone so far that it included the reason and even the ultimate of drawings. Therefore, different majors have been made in the line of its improvement or against it. For example, “Biotech” was made in the line and for the improvement of “High-Tech” style putting nature as an instrument for displaying technology and protecting the nature, on the contrary styles as rural traditionalism, such as what accomplished by Hassan Fathi in Egypt, rejected modern technology. Although, the views of technology-generating or technology-importing countries in this regard is different, what is important is that in the present era considering damages to the human psyche and nature, the objective role of technology has been laid aside and what remains significant is high objectives such as meeting the man’s moral needs and attention to environment conservation which are fulfilled by having an instrumental look rather than an objective look to technology. Therefore, it is assumed that at the beginning of its entry into architecture, technology has been encountered with the people and architect’s fondness and its display has led to a type of vitality due to a sense of communities’ development, but after a while when its disadvantages have been identified along with its advantages, its usage has been reduced as needed. Therefore, seeking the process of technology realization in architecture this article deals with its review in facade, framework and the soul of architecture. Therefore, first the meaning of technology from the beginning to the present, strategies adopted against it and also how it was appeared in architecture have been explained, then by analyzing Pritzker architecture award, the creep of technology as an effect in facade and building construction has been studied. From the viewpoint of this approach, history can be divided into two eras, before and after the advent of technology. However, there are views that know the old inharmonic and simple tools as the first buds of the today’s high-risk technology, but “Rene Guenon” believes that the distinction between these eras of technology is based on the contrast which could be identified between two quality and quantity views dominating the old crafts and the modern industry. The advent of technology into architecture has been brought under consideration on four facets: The structure’s presence in the facade, the type of materials applied to the facade, the kind of building system used, and the degree of form’s signification in architecture (to be collated with the structure’s importance in facade: The buildings picked up for Pritscker prize have been studied longitudinally. In the study, as many as 126 buildings picked up for Pritscker prize are listed in tables and their diagram has been extracted from a separate section. The resulting diagram shows that the tendency to present technology into the world of architecture has been on the increase since the advent of TECHNE as well as its shinning presence in facade making, all at one and the same time being a sign of the degree of societies’ progression incrementally with time, having been yet even more expanded along with movements like Archigram in 1960 and “High-Tech” in the 70s not to mention building Gorge Pompidou in 1977 and the Shanghai Bank in 1981. Little by little, however, after the coming on of high-tech styles regarding technology as the finale of architecture, many opponents stood firm against it of whom the most prominent were environmentalists. Consequently, the high-tech architects joined the environmentalism movement to extend their own survival, bringing about the “Eco-tech” style. Finally, the trajectory of technology’s presence in the build-up of recent facade appears to the more showing itself off as contrasted with the time before the coming on of “High- Tech” despite the fact that it has not been followed by any growth: a proof that technology is now out with architecture and importance is attached to a number of other factors though technology continues to be an important tool for the purposes of bringing out architectural concepts: not that it is any longer deemed to be the goal, but its usage has colluded with some sort of advancement and refinement. The materials applied to facade in various buildings have been delved into as the first part of this section whose result is the materials categorization into six major classes.

Contemporary modern urban architecture of Iran suffers from the lack of its native and cultural identity and sustainability during its process of modernization. The Modern urban architecture of Gilan seems to have the same problem as Iran's contemporary architecture. Underway of modernization, Modern architecture of Gilan has not been so successful to depict a sustainable type of its background and context. Because neither it has approached to the ideals of modern architecture nor preserved its original and cultural identity and contextual features. Trying to understand the high degree of correspondence of modern architecture attributes and features with the vernacular residential architecture of Gilan, will help designers and architects have a better attitude in modern architectural urban design in Gilan. So this article demonstrates that vernacular residential architecture of Gilan and modern period architecture have many similar attributes in form, despite their different histories, cultures and social backgrounds. This article expresses that some similar circumstances in both social backgrounds had some similarities in common, like women’s role in the economy and career style. Understanding this similitude is a necessity in the process of modern urban architectural design to have an identity and sustainability. To approach its goal, this article is based on the comparative analysis method. In different sections of this article, similar features of forms and their origins would be identified for each architecture type. Four main sections of the article are as below: First part explains the factors affecting vernacular architecture of Gilan consist of climatic, cultural and career circumstances, which have led Gilan vernacular architecture to an extroverted architecture type. Temperate climate and heavy rains have caused some kind of extroverted architecture type with tendency to natural materials, simplicity, transparency and etc. Buildings are open to natural air circulation and are made upper than the ground surface to avoid moisture of soil. These are due to climate consequences. Buildings’ forms have a strong relation with their environment (farms, gardens, etc). They have terraces around rooms, open to the yard and most part of the life is being placed on terraces. So extroversion is the most attribute of vernacular architecture in Gilan which leads other features. The style of Gilanian occupants’ career, which was co-operating and collaborating of all family members, including men and women together, has also led the architecture to extroversion in form and environmental arrangement. Because working with neighbors and communicating with them around houses were regular and influenced by their way of living. After knowing Gilan’s climate and culture, the article depicts this type of architecture’s features and attributes and their origins in 13 items, including lightness, functionalism, symbolism, modular plan design, transparency, relation to nature and etc. These are mostly effects of extroversion and relation to nature. Second Part is about Modern architecture period and knowing its features and origins. At first, the article defines some important vocabulary of modernism issue like modern, modernism, modernization and modernity. These are necessary to understand thoughts and ideals of modern architecture. Then the most distinctive features and attributes of modern period architecture are distinguished by analyzing modern period thoughts and famous buildings and monuments. Minimalism, extroversion, naturalism, transparency, functionalism, sculpturally, lightness, brutality and etc. are the most specified attributes of western modern period. They are mostly effects of humanism, rationalism and also functionalism. Third part of the article analyzes all mentioned attributes and features of both architecture types in a comparative method and demonstrates the similar ones. It shows 11 out of 14 mentioned attributes and features that are similar to each other and have correspondence, which shows a high degree of 80 percent similarity. In fact, just three features had been non relative and that were free plan design in modern architecture versus modular plan design in Gilan vernacular architecture and also symbolism in Gilan vernacular buildings. The first was the effect of modern structure and technology in comparison with restricted one in Gilan historical buildings and the last one reflected Gilanians’ creed. The last part of this study indicates the very high similitude in features and attributes of these two types of architecture despite their difference in cultural and historical contexts and backgrounds. From this correspondence in features of these two types, the article concludes that modern urban architectural design in Gilan can use this similar attributes to have such a sustainable modern architecture with relation to its past and origins. The most similar features specified by this article are: Transparency, Functionalism, Minimalism, Extroversion, Naturalism, Sculpturally, Lightness, Brutality, Decreasing Decorations, Bolding Architectural Elements and Truth in Its Appearance.

Spatial continuity particularly continuity between inside and outside is a concept that man always was looking forward to express it in architecture. It is a trait for expanding a restricted area and relating the spaces to other adjacent spaces in order to have more physical-visual or intellectual-moral motions. Although the boundaries of spaces create spatial order and specify the quality of space, on the other hand, one another trait of architecture is continuity which leads to dynamism and motion. A continuous space is opposite to a closed and interrupted one, so in such spaces there is a spatial locomotion towards horizontal and vertical axis. These motions cause transparency and mobility towards the bulk of materials such as walls and columns in a way that the paths of moving or the directions of the sight are continuous. In the field of architectural expressions, continuity has several types and in this case, one of the categories can be noticed. This classification include four cases such as Historical, Cultural–social, Natural and Spatial continuity. Any of them has its definition, but in what follows, the spatial continuity will be described in detail. Spatial continuity can be studied in four states: First, the interior and exterior; in this case, besides the continuity makes perspective expansion, it inspires the concept of «being inside». The user requires both inside and outside spaces, and also the ability to move between these two spaces. Therefore, the architect should visualize and form inside and outside as a unit concept. Second case, between two interior spaces; flexible interior space, diversity and maximize capacity of space can be achieved in this way. Third, in an interior; this kind of continuity is more understood in a large enclosed space such as a church or a mosque. The fourth state, in the space outside the building; in open spaces or urban spaces can be observed. Any interior space may have continuation in six axes. Spatial continuity can be established through some architectural features, these factors include: Transparent layers; the most important factor to create continuity between two spaces. Transparency can be made by embedding the openings, doors and windows. Axis; axis represent the directions and correlate different elements to each other. In other words, axes connect spaces like a string. Although axes can be defined in various ways, two directions are often stronger than the others because the orientation of human kind is based on the horizontal and vertical direction. Rhythm and Repetition; the most important and most tangible factors that can represent spatial continuity are rhythm and repetition. Continuation and repetition are the basis of continuity. Continuation of surfaces; shared elements between the two spaces arouses a sense of continuity to the spectator. Continuity will be well understood when the surfaces of the floor, wall or ceiling of a space stretches to another space. Intermediate space; intermediate space (the third space) is one of the main factors of continuity and sequencing of architectural elements. Although this item separate two spaces, it causes the continuation without any separation between them. In each ancient and modern architecture, new methods can be observed, trying to show spatial continuity. In modern age, progress in technology and release of Classic principals (norms) caused the best type of continuity. Modern architects reduced the confliction of inside and outside and ignored the role of walls as separator elements by eliminating the boundaries of interior space. Modern architecture incorporated inside and outside to let them form one unique continuous space, without any difference between interior and exterior space. Spatial continuity in modern architecture: In modern architecture a continuous space is created by eliminating or neglecting the role of walls (separators). Therefore, there is no difference remains between inside and outside. The boundaries have become smooth, so visual continuity and accordingly, spatial continuity arises. In other words the walls lose their existence and permanency, the conflict of inside and outside is eliminated therefore the meaning of inside is weakened. The same as universal architecture, there are some rules in ancient Iranian architecture to represent spatial continuity, however mentioning the spiritual and moral sides of continuity. Iranian architectural space include three categories from the primitive time: closed, covered and open spaces. These three mainsubspaces define the whole space. Room, as a closed space, porch (Ivan) as a semi closed one and the yard as an open space. Iranian architects always try to track the continuity between these three items in their design process. They have attempted to pass the user through the space unimpeded, promoting the idea of transparency, lightness and spatial continuity, by reducing the bulk of mass and increasing thespace. Iranian architectural space can be thought of as a wavy space. Conjunction withunlimited space is created through the light and perspective expansion, and space expansion between the components. Continuity through these spaces were shown spreading natural lights, and the extensionof the sceneries and perspectives. Iranian architects tried to reduce the material mass of the building body in order to achieve transparency and spiritual lightness. In this essay we are intending to study the level of effect of traditional Iranian architecture on contemporary Iranian architecture and the level of effect of modern architecture on it, and finally we will make a comparison between them. For this review, a descriptive–analytic observation is set that the criteria of comparison are the factors of spatial continuity of Iranian and modern architecture. For each architectural Style, factors that represent continuity is listed, mentioning that any of these factors can be used in which state, relating the inside and outside. So this will assort results in a set of tables for each Style. A number of public buildings, built during 50 decade till now is selected for analyzing the factors in each group. Four of them will be expounded. At last the results can be observed in a detailed table, along with, a diagram represents the percentage of each factor’s participation in indicating spatial continuity in both Iranian and modern architecture.

Political, social, and economic spheres of Iran underwent extensive changes during the Pahlavi period. These evolutions brought about far-reaching cultural, population, and physical effects. In this period, centralization, immigration, and development policies led to an increasing growth in the population of Tehran and consequently housing emerged in the capital. While the small-scale constructions were not sufficient to resolve the problem, several unprecedented low-rise housing complexes called “Kooy”s were built in Tehran’s suburbs based on the principles of modern urbanization during 1940s-1970s AD (1320s-1350s SH).Characteristics such as project-based housing complex building, applying the principles of modern urbanization, new building patterns, and relying upon new ways of dwelling were seen in these complexes.Thus, this research aims to identify factors that led to the development of such new approach. Is just studying the evolutions of architecture during this period sufficient for answering this question? This question directs the research towards an analysis of the potential role of the advocates and users of these complexes.Thus government, public, and architects have been considered as the factors which contributed to the emersion of this approach, their roles in the emersion and acceptance of that have been explored. The study revealed that modernism in the Pahlavi period was the common feature and cause of alignment of these three factors in the course of the development of this approach.Undertaking the task of alimentation and modernization by the Pahlavi modernist government engendered a new middle class, promoted a new lifestyle amongst people, engaged the government in the arena of housing and its espousal of modern architecture, and opened the way for emersion and reception of “Kooy”s.Furthermore, the spread of modernism among the public through changing their taste led to the acceptance of modern lifestyle and consequently of modern architecture. In addition, the arena of architecture through its new functions as well as the new architectural taste of the public has opened the way for a new architecture and its modernist architects designed new housing complexes by adopting western housing patterns. In these complexes, a wide range of Houses and Low-rise apartments were built. Residential units were simple or complex according to users’ needs and gradually moved away from traditional building patterns towards modern ones. Over time, the tendency to apartment building in these complexes increased and some apartment units were added to former complexes. For building these units, new methods of construction such as prefabrication were used.Hence, these complexes promoted a mass of symbols of modern architecture in the housing arena and were laid as a basis for building medium and high Rise complexes in following periods. This process occurred gradually as government, society, and architects were getting prepared, and as a result, an architectural style was created which had been learnt by modern architects, supported by government and regarded as an updated product by public. The study showed that a common will and convergence of government, public, and architects is necessary in order that a large-scale architectural evolution to take place.