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

It is very important to investigate and recognize the space-sound, time-weight and formal infrastructures in the Dastgah system of Iranian classical music. The topic discussed in this research is the investigation of formal infrastructures in the Dastgah Shur from Ali Akbar Shahnazi’s Advanced Radif, which is considered one of the important repertoires of this field. The form can be examined in three structural levels "macro", "middle" and "small", this research is especially done at the small level. "Tone", "figure", "motif", "phrase", and "sentence" are structural units that make up the smallest level in a piece or "Gushe", in which the composer or musician can present their musical ideas. Citing reliable sources, the author describes each of these units and redefines them in a phenomenological way based on the level of the Advanced Radif and gives examples of the mentioned repertoire for each. Among all the units, some have high frequency and appear many times in the structure of the Gushe, these units are considered to be the characteristics of this Dastgah and especially the special style of phrasing of Ali Akbar Shahnazi. This research is also aimed to introduce Ali Akbar Shahnazi and his career. "Independent phrases", "type two-phrase sentences", "type three-phrase sentences", "sentences with more than three phrases", "expanding sentences", "compound sentences", "modulating sentences and phrases" and "phrase groups" are formal units extracted in this field of research, among which "independent phrases" have the most frequency indicating Ali Akbar Shahnazi's special phrasing style. Pieces and formal units can be classified into three groups: "based on the motif", "intermediate" and "free form". 14 of the 22 pieces of the Dastgah Shur use motifs in their structure, and among the formal units, "motif sentences" have the highest frequency. Therefore, it can be concluded that the structure of the Dastgah Shur of Andvanded Radif passion and especially Ali Akbar Shahnazi's phrasing is "based on the motif". Another aspect of this research is to investigate the role of notes in the formation and degree of finality of formal units. In the modal regions of the Dastgah Shur, the "Shahed" note is considered strong and "stable" in terms of closing power, and other degrees are considered "unstable" and weak.

The term “kitsch” in the 1860s to the 1870s was used by the painters and art dealers of Munich in order to present weak works of art. But after the first decades of the 20th century, kitsch became an international term. On the other hand, Andy Warhol was a leading American artist, writer, photographer and filmmaker and one of the founders of Pop Art in the 1950s. In the United States, he was one of the most well-known figures of Pop Art and had avant-garde ideas. The purpose of this research is to expand the concept of kitsch in art and to analyze the typological concept of kitsch in the works of Andy Warhol.The main research question is how to analyze the typology of this concept in the works of Andy Warhol. In this regard, the research method is based on qualitative content analysis, using coding with an inductive approach. In this research, firstly, the terminology and genealogy of the concept of “kitsch”, then, the opinions raised about the aforementioned word have been examined and an analytical classification of these opinions has been given. Following that, in order to understand the ways of producing kitsch in the work, a typological analysis of the concept of kitsch in Andy Warhol’s works has been done. The results of the research show that kitsch always refers to the concept of “aesthetic inadequacy”. Furthermore, in this era, the work of art often becomes a mere commodity. The work of art becomes an everyday thing and the everyday thing becomes art. In addition, two types of kitsch based on content and kitsch based on form can be explained in Warhol’s works. The content-based kitsch strategy includes the representation of the banal and the reproduction of everyday images, and the form-based kitsch strategy includes the banal technique, collage, reference distortion, accumulation and repetition.

The form is a multi-meaning concept. It is the interface between the inside and outside through two aspects: the inner and outer space, the human body and physical form. This interface operates on three levels: physical-environmental, functional-behavioral, and perceptual-semantic. These aspects are often overlooked, but visual effects play an important role in the design process. So, it is necessary to develop a logical model and precise indicators as an advisor. On the other hand, the connection between "form" and "what is not a form" can explain this concept. The objective of this paper is to identify indicators for designing that establish a multi-level relationship between the objective aspect (appearance) and subjective aspect (meaning), clarify the concept of house form, and enhance the possibilities in the relationship between inside and outside. So, the fundamental question is: which indicators of house form provide the probability of a multi-level and multi-meaning relationship between the inside and outside in design?The research approach is qualitative. In accordance with analytic induction, a content analysis method is used to code the contexts that refer to modern and postmodern architecture. First, a logical model for form is created through literature review. The relationship between appearance and meaning is established through the levels of house components. These multi-level components respond to the object-subject duality and reflect the multi-meaning concept. Second, the coding is done based on this model in three steps. The purposive sampling for coding is done by linking "form" and "what is not a form" to discover a wide range of meanings related to form.Six categories are derived from coding contexts. The form design indicators are created by aggregating, comparing, identifying similarities, adding, and reducing their subcategories. The indicators are explained in three clusters: 1. indicators of borders; 2. indicators of thresholds; and 3. indicators of surfaces. This attitude is based on the complexity of a multi-level and multi-meaning concept. The indicators of borders include creating delay space, creating depth of mass, combining different planes within the borders, multi-shell of mass, and flexibility and adaptability of borders. The indicators of thresholds consist of the similarity and continuity of the transition region, the significance of light penetration, supply needs, soft connection, and the arrangement of border shapes and passage patterns. The indicators of surfaces include unity, identity, balance, embodiment, and non-prescriptive ornamentation. The similarity of the discussed indicators lies in their ability to enhance both visible and invisible motivation in the architectural design of a house. They aim to create a soft transition hierarchy between inside and outside, repeatation in the perception of the mental image, and integrate visual, dynamic, and sensory elements to achieve a multi-dimensional effect. The indicators affect each other. The border indicators generate the inner portion of the threshold and surface. The surface indicators determine the appearance of the surface and the threshold. The indicators of threshold are the mediation of borders and surfaces. This approach to form causes events to generate meaning.

Learning from the values of traditional Iranian architecture and architectural ornamentation is a way to improve the quality of our today's architecture. The first step of this way is to understand the appropriate method of reading architecture and architectural ornamentation. In recent decades there are various studies on Iranian architectural decorations with different methodologies and approaches. This study aims to seek a way of reading ornamentation in Iranian architecture through content analysis of existing studies. So, the main question is: How can we achieve a model for reading, learning, and creating ornamentation in Iranian architecture? In this qualitative research, we have followed an interpretive approach and used a content analysis method to analyze data obtained from a literature review. The results indicate that there are three sources for reading ornamentation: 1. through the examination of the works themselves, 2. the personality of the traditional craftsmen, and 3. reading non-architectural documents such as cultural sources or literature. There are also eight perspectives to consider ornamentation: 1. historical evolution, 2. ornamentation in a particular type of architecture (mosque, house, bazaar), 3. technical and restoration, 4. semantic-philosophical, 5. materials, 6. colors, 7. patterns, and 8. inscriptions. So, the model of reading and creating Iranian architectural ornamentation includes four layers; 1. material, 2. color, 3. pattern, and 4. inscription. All the layers together as a system create quality, beauty, and meaning for a place. Literature review shows that few studies have addressed all four of these components in an integrated manner. However, the spatial quality of Iranian architecture is the result of the synergy of all four components. This research suggests a comprehensive method of recognizing and using the four ornamentations by addressing both formal and semantic aspects.

The rest is the maker of music next to the sound. Music begins and ends with a long rest. In a piece of music, the rest being placed between sounds connected, makes them sound like a phrase. Also, the form of many musical pieces in its entirety is shaped by the role of rest as a separator of parts and sections. Of course, it seems that until the contemporary period, the importance of rest was not much considered by composers. For example, in the contemporary period, many composers specify the rhythm of rest precisely between the movements of their music so that there is no large break between the movements and the musical flow is not delayed. Contemporary composers have composed music based on the expansion of rest and its various combinations along with sound; That is, instead of the rhythm of different sounds being at the heart of the musical movement, it is the rest with its different rhythms that moves the flow of music as a structural element. On the other hand, in many pieces of contemporary music, rest could always lead the listener to the correct understanding of sound events and be like a platform for them to happen, while it also might be a part of a sound event itself.

Research Questions:

 The diverse function of rest brings to mind an important question about its role from the past to this period: Whether the composers' usage of rest was completely functional like a structural element, or was it of another quality like these examples? Especially, because of the aesthetic process of Western classical music from Baroque to the contemporary period, this question could be considered in a more specific way in these periods, so that we could find out the most important aspects of the function of rest in the music. 

Research Hypothesis:

 Rest could be like music performance, and there is no difference between being written or not in the notation. Such usage of rest is the result of the performer's action to express the music and could not be a sign of the special attention of the composer to use rest in music. In such cases, which include most of the musical repertoire of the periods under discussion, the composer does not use rest as an imposed element on the musical structure; rather, rest lies in the natural flow of the music. In another type of rest, composers, especially in the contemporary period, use it as a fundamental element to shape the structure of music and consider its role as important in the form of music. An interesting type of rest that is in the absence of music or something that could be referred to as composer's rest has a special place in the investigation of the expanded quality of rest in music. The history of Western classical music shows that the flow of composition has gone from rest to excerpts and later to verbosity, to the extent that in long pieces, the listeners in their minds could feel the need for the composer's rest with its philosophical meaning, and even for moments, by not listening to music, they could create rest for themselves.

Research Literature: 

Research resources about rest in music are very limited, and there are only a few materials about the topic. For example, Habibdoost considers the concept of the unconscious idea of rest-sound in his book and defines it in connection with one of the important aspects of rhythm in the scale of a piece, i.e., the rhythm of the changes in appearance and absence of ideas. Also, in his book, Ahmadi has some controversial concepts about rest and considers it not to mean the absence of music, but an essential part of every music. In his opinion, rest finds its true importance in John Cage's music, and his piece, 4' 33" is one of the most important pieces about the philosophy of rest. In this context, Sposobin also has material in his book that shows the relationship between the composer's verbosity and rest, with the lengthening of the musical form. In his review, composers, by using mostly the sonata form for movements from the end of the classical period, gradually used the sections of expression, development, and recapitulation of themes, which required a longer time.

By examining samples of the music repertoire from the Baroque to the contemporary period, various cases of the function of rest are identified, which include the role of rest in the form of a piece, the phrasing of the music, the dialogue between vocal lines and instruments, the expansion of background to foreground, and reducing or increasing tension.

The role of rest in the form of music shows that rest on a large-scale shapes structure in a piece. The lack of it between sound categories or parts of a piece could sometimes lead to the mixing of sound elements and confusion of the musical form. Phrasing shows the clear usage of rest to make musical phrases; so, this is the function of rest, which, like a pause in a spoken word, by being placed correctly between the sounds, could make the music articulation. Placing rest between two or more vocal lines or instruments could show the expressive quality of music in the form of a dialogue between them so that the one-way flow of music from one vocal line or only one instrument in some cases could create fatigue for the listener, which is balanced by this function of rest. The expansion of music using rest is a usage that is more concerning the works of contemporary composers, and it gains meaning by bringing rest into the context of sound. Expanded rest is the exact listening of it in search of sound, which is something that has very little history in the music of previous periods. The reduction and increase of tension points to the narrative and metatextual usage of rest in music. This function creates a dramatic quality in the music and brings a sense of anticipation for the continuation of the sound flow to express the musical narrative.

The process of formation and creation of an artwork has always been the concern of researchers and artists in art studies. Also, the creation of painting has been the subject of educational programs due to its skill and technical aspects. This indicates the importance of studying the path of creation of a work. The realization of this problem is possible through formative and methodical criticism. The formation process of a text is possible by focusing on all extratextual and intratextual aspects of work and relying on objective observation and material documentation. For this purpose, taking into account the conditions and crises after the war and after a brief and comprehensive introduction of the features of Francis Bacon’s works in general and among Bacon’s countless works, a selective study and interpretation of the paintings of Francis Bacon, the famous painter of the 20th century, with the title The Pope and Pope and Owls study series are covered in detail. The purpose of the article is to discuss how to create an expressionistic content of reality in Bacon’s works and to answer the question of how Bacon, by focusing on what he has in his distinctive formative behavior, leaves a different scope of pretext that is in the number of documents of the constructive case. It is effective. The collection was done using a library method. In the following, I have dealt with the influence of the elements of color and form in creating Bacon’s works from the perspective of the elders. This article has been decoded in a descriptive-analytical way so that, finally, it leads its audience to the conclusion that Bacon was a realist painter and depicted reality in the form of expressionism and sensationalism. This shows the creativity and combination of elements and how to use tools to execute the work. For this purpose, hypertext becomes possible by studying this text’s development process and relying more on other elements around the text, including paratext and pretext.

The art of calligraphy depends on aesthetic components that have changed over a long history, but these components are mixed with unstable formal rules. Calligraphy is a complex skill based on the rules of writing geometry, in which the importance of text and a comprehensive understanding of writing, the capabilities of the tool and the writing platform are discussed. Paying attention to each of these factors leads to the identification of a neglected aspect called fluid rules. This article takes a different look at identifying the fluidity of these rules to discover its hidden capabilities and capacities in the ranks of seeing, reading, understanding, enjoying with a special taste along with a new narrative. to be; So far, we have been faced with a kind of homogenization in the rules and principles in the evaluation of the works, and most of them have introduced the maximum observance of morphological rules along with a combination of visual beauty in the writing. In this article, the author has investigated the variety of shapes of lines from the perspective of form, character, practical and practical features, using descriptive-analytical method and using calligraphy letters and library sources. The result of this research is to know the formal capacities of lines and their capabilities in calligraphy, which can lead to the development of calligraphers and letter designers in renewing the dynamics of lines and producing mirror lines and blocking the flow of lines and fonts. destroy the new

The transformation of form in architecture in a historical trajectory has been the result of countless factors that have led to the change of principles and indicators in some situations. The purpose of the present research is to investigate the factors and dimensions of the transformations that occurred in mosques without naves during the Safavid and contemporary periods of Iran through a comparative analysis of the form of Sheikh Lotfollah Mosque in Isfahan and Al-Ghadir Mosque in Tehran. The hypotheses proposed to achieve this goal are that the mosque of Al-Ghadir in Tehran and the mosque of Sheikh Lotfollah in Isfahan are similar to each other in terms of formal structure, and the metamorphosis of the form occurred in the form of some physical and spatial indicators. The current research has investigated the metamorphosis factors that have played a role in the formation of these two works in the visible and hidden layers using descriptive and inductive analysis method. The results of the research indicate that the principles of transformation in the form of Sheikh Lotfollah Mosque have taken place due to the index of spatial geometry through rotation and change of direction and translational movement by structural and physical elements, external walls and connecting internal spaces. that in the Al-Ghadir Mosque of Tehran, which was built in the contemporary period, the principles of transformation have taken place not only by changing the form, but also by ignoring and removing the prominent elements of the mosque, including the dome and the minaret. In addition, the rectangular shape of the space under the dome and the pyramid shape of the dome are also other factors of metamorphosis.

Pottery, as the oldest human application industry, has a variety of products. One of the most famous and widely used products in the pottery industry in the past is called Albarello. Albarello considered by pottery artists of various lands, including 15th century European artists, as a medicine vessel and a widely used product. One of the most important centers of Albarello construction in the 15th century is Valencia, Spain. Spain in the Middle Ages was part of the great realm of Islam, and importantly, the culture and works of European pottery, especially Albarello, in this period are influenced by Spanish artists and craftsmen of this period. Due to this, the present study is a study that has been done to identify the decorative motifs and form of the Spanish Albarello and how they relate to Islamic art. This research has been done descriptively and analytically and using the library method and in this study, the studied specimens are Albarello belonging to the 15th century and are preserved in the Metropolitan Museum of Art in New York. The findings of this study indicate that the forms of these Albarellos are divided into two categories, in terms of decorative patterns include geometric and plant motifs. These motifs are influenced by Islamic art and are executed in accordance with the use of utensils. They are also influenced by the pottery of the eastern part of the Islamic realm in terms of form.

Pottery is one of the most common Iranian arts that has always been the manifestation of various decorations by various designs. Themes in the art of pottery express themes and concepts, which ceramists have used as a platform to express their thoughts, beliefs, culture, etc. One of these themes that is common in pottery of every period and has been used many times is the theme of fish. Fish is one of the original themes that has been used in Iranian art before and after Islam as a decorative theme and according to the beliefs of the people works as a symbolic theme in various arts such as carpets, pottery and textiles, etc. By analyzing each of these valuable artistic elements, one can understand the culture, civilization, mentality, etc. of these people. Although, this role may have changed during various times and periods due to different cultural, religious, social, etc. reasons, and sometimes with a natural form and structure, and sometimes in an abstract form. Nevertheless, it has not lost its main place and has always been used as a main and secondary them in decorating works (textiles, metals, carpets, pottery, etc.). Pottery is one of the arts that is often decorated with fish. In general, a large number of pottery from the Islamic period of Iran are painted with fish. In some of these potteries, the role of fish is the main subject of the work and in some others it plays a role as complementary theme. In both cases, this theme appears in various forms, structures, compositions and has created a beautiful reflection on these works. In this study, we try to examine the fish theme visually (composition, structure and form) according to the existing images, which leads us to the introduction and recognition of fish theme in dishes and understanding of types of composition, structure, form, etc. Now these are the questions What is the role of fish in Iranian pottery in terms of composition and structure? What is the appearance and position of fish in these potteries? This research has been formed with a descriptive-analytical approach and with reference to library and internet resources. By non-probabilistic sampling method, 30 samples of pottery with fish motifs belonging to the 6th to 14th centuries AH  were elected from foreign museums and collections such as Lakma Museum, Boston Museum of Art, Brooklyn, Harvard Art, Victoria and Albert London, Louvre, David Collection and Islamic art books, Then, in tables with linear examples, the types of composition, their structure and form are studied and the results are given so their properties can be analyzed.    The results of this study show that the fish theme is very rich and widely used in different forms and designs, which shows its visual power and high value. Spatialization of the fish design is so that it sometimes can be used as a decorative element in the form of a single theme or sometimes with other themes in different locations of the picture (center, corner, whole,…) depending on artist’s purpose. According to the research and analysis based on the existing samples of pottery with fish theme from the 6th to 14th century AH, they can be divided into five types of compositions. The fish theme is depicted in five types of index compositions (1/4, circular, horizontal, spiral, vertical).1.The 1/4 composition: is seen with a few fishes often on the corner and the bottom of the image. 2.The circular composition: in the center, whole or part of the image with the number of two or more fish is displayed. 3.The horizontal composition: The fish themes along with other themes (the subject of Iranian old stories) at the bottom of the second half of the image are shown rotating from left to right. 4.Spiral composition: Covering the entire space, they are seen moving and spinning on the spiral arch from inside to outside or vice versa. 5.Vertical composition: It is displayed linearly and statically.The obtained structure shows that no division has been made about this theme, and this theme has the ability to place and spatialization in different locations of the image with various number. The form used in most samples is close to reality and its lightness, softness, flexibility, and movement direction is used to move with or without the appearance (scales, wings, mouth, eyes) and is completely abstracted in various forms. Everything indicates that there is no limit to the drawing, numbering, and placement of this theme in the natural or abstract state in all periods..

This article examines the foundation of musical form from the perspective of motion and force in Franco Donatoni’s Cadeau, using a semiotic approach. We start by exploring the essence of musical signs, with a focus on the intricate examination of motion and force, commonly referred to as kinetics, as a distinct sign category nestled within the profound framework of Peirce’s sign triad. Also, we review the concept of visuality in music, as well as the fundamental roots of this concept using Peirce’s semiotic system. Visual signs are metaphorical representations of musical entities that vary in the mind of each interpreter. However, these metaphors share a common foundation, which is the type of motion and force within them. Due to the temporal nature of music and the existence of the dual tension and release, which is synonymous with the concept of energy, music can be associated not only with imagery but also with deeper layers of motion and force. With focusing on Donatoni’s Cadeau, this article demonstrates that musical signs are of an indexical nature and require interpretation to be meaningful, requiring a specific type of listening behavior. This type of listening is referred to as Figurativization. Delalande findings are in coordination with Peirce’s semiotic law of the triadic relationship and thus elements in music that embody motion and force can be interpreted as meaningful. Subsequently, the 19 temporal units called TSU (Temporal Semiotic Units), developed by Delalande et al., are employed as the basis for analyzing the form of Cadeau, which is referred to as kinetic analysis. This article demonstrates that Donatoni utilizes the techniques of vertical simultaneity (superimposition) and horizontal adjacency (juxtaposition), represented by the TSUs of “heaviness”, “wanting to start”, and “obsessive” as the primary themes in the structural composition of the piece. The composer utilizes the superimposition technique with two intentions. In the first phase, he aims to create a background where both previous ideas and new ideas can coexist simultaneously, allowing the listener to have the past before them. In the subsequent phase, he employs the simultaneity of TSUs to create a segment that is independent of the initial parts. On the other hand, by employing the technique of juxtaposition along the horizontal axis, without thematic expansion in a classical manner, he transforms the previous sections into new states that are not intended to evoke new TSU formations. In addition, the necessity of using kinetic signs as a tool for the formal analysis of musical works is elucidated. The article shows that in Cadeau, Donatoni employs time-stretching techniques on motifs, using TSUs that are resilient to repetitive patterns. These segments introduce an idea of infinite time, as if they are eternal and non-time-bond, with no conceivable end. Additionally, Donatoni is influenced by Bartók’s compositional approach and embraces rhizomatic thinking, which signifies the absence of linear thematic expansion. In Cadeau, the composer strives to create a non-linear form by employing rhizomatic thinking and utilizing non-time-bond segments, challenging the perceptual experience of temporal progression from a phenomenological perspective.

Mawwal is one of the literary arts of poetry that was created for singing. Its initial form was eloquent poetry, which gradually changed to slang with a variety of accents, especially Bedouin. It was classified as a subsection of popular music and became an improvisational musical format known as nūbāt repertoire in the Arabic oriental world (Mashriq). This research examined the history and emergence of the Mawwal and the difference about its origin, then crossed to the etymology of the term Mawwal – Mawwalia and showing all of its possibilities. Also the historical transformations of this poetical form is discussed. The musical form initially originated in Iraq in its quadrilateral form. It then transformed into an alternative form, known as the pentagonal, when it reached Egypt. Afterward, it returned to Iraq and evolved into its heptagonal form. Eventually, the musical form made its way to Syria. Since al-Mawwal al-Sharqawi (heptagonal) is the dominant Mawwal in the nūbāt performance, his literary style has been analyzed and described through dialect, terms and letters used, rhyme, enumeration of poetic verses, paronomasia or pun (similar words) and poetic content (general theme). After that the analysis of the heptagonal Mawwal as a musical form in the Syrian nūbāt was started through models of the Aleppo singer Sabah Fakhri and a comparison with the period before and after him and the differences between each period. Through this analysis, this research attempts to derive a specific musical form for the heptagonal Mawwal form in al- nūbāt, while it is an improvised form and does not have specific musical rules agreed among musicians. This research begins by deconstructing the predominant order of conducting the Mawwal parts in the nūbāt and the repeated parts in it. And then a maqam analysis of each part of the Mawwal and where the vocal and maqami peak lies and where the maqam transitions of the same maqam family or for different maqam families and reference to the stage of musical suspension and conclusion. Finally, an extract a musical form of the heptagonal Mawwal template in this way (A B A) and in more detail by indicating the numbers of the poetic parts A (1 + 2 + 3) - B (4 + 5 + 6) - A (7) is shown. This supports the fact that Sabah Fakhri relied on a certain methodology and style in the performance of his mawāwīl, where he used certain melodic and rhythmic phrases that were repeated in most of them. That is, it was based on rules taken from the heritage form, similar to the mawāwīl that preceded it within the nūbāt and greatly influenced the mawāwīl that followed it. The method of this research is deductive and historical with regard to the process of description and analysis. We have gathered fundamental data from various sources, including the analysis of musical performances, analysis of lyrical texts, observations, and interviews. These sources serve as the main foundation for this research.

Natural forms and structures have always been a source of human inspiration for the creation of space. The present study focuses on one of the most important sources of inspiration from nature, namely Rotational Symmetrical Synclastic shells (RSS), and deals with the formal and structural optimality of these shells and their role in architecture. The methodology of this research is descriptive-analytical and simulation. It also uses primary sources and case studies in nature, such as bird eggs to analyse the form and structure of natural RSS shells, and to determine how to use their capacities in architecture. To this end, the article first addresses the typology of RSS shells. Then, the formal principles of RSS shells in nature are examined, which include various formal structures. Then, the typology of these shells in past and contemporary architecture is examined, including different types of arches and domes based on compressive or tensile behaviour. Another objective was to study the formal and structural optimality parameters in nature and architecture. It is very important for architects and designers in this field to have data control in order to achieve optimal and innovative forms and structures. Due to the variety of RSS shells, the focus of this research has been on spherical and parabolic examples. In the study of the "circular parabolic" shells, first, the required parameters were defined. The parametric definition of "spherical" and "circular parabolic" surfaces showed that the optimality of the shell surface can be achieved by adjusting parameters. In order to identify the optimality parameters of RSS shells in nature, bird eggs were examined as a case study. Various studies have shown that many parameters are effective in the optimal formation of bird eggs, such as: clutch size, roll factor, Hand Wing Index (HWI), degree of conical or elliptical egg elongation, and structure of the egg, among others. On the other hand, changing in numerical parameters also showed that by increasing the height of the egg, surface optimality in relation to volume can be increased. In examining such natural RSS shells, which are great examples of natural structures, we arrived at hidden rules and parameters. Some of these have been implemented in architecture, while others have not yet been considered. The ones that have generally been implemented are: achieving formal and structural optimality with maximum resistance in large openings, using the least materials and having minimum surface area, reducing resistance to lateral wind forces in minimal formal and structural contact, and having an optimal form in response to environmental and weather conditions. However, the findings show that there are other rules, which should also be considered by architects, such as design and implementation of context-sensitive in-situ shells and prefabricated shells focused on the specificities of each context, and utilizing new technologies to achieve maximum optimization of form and structure in RSS shell architecture. Thus, by examining natural RSS shells, it may be possible to achieve new and more efficient architectural ideas and design processes.

The expansion of territory and defense of the existing territories has been one of significant importance to the rulers throughout history, therefore, equipping the military and designing new war equipment  was a constant devour for all power institutions. In fact, the construction of war equipments for the purpose of defense, consolidation and expansion of the ruling power has always been the concern of said institutions in different ages.Ilkhans have also needed to build military equipment such as various types of armors and weapons to ensure their authority inside and outside their territory. They needed efficient weapons to show their glory and expand their territory and maintain their power. Therefore, skilled weapon makers were hired. Meanwhile, the attention of Iranian painters has recorded the history and details of war scenes and weapons used. Weapons and war equipments from the Ilkhani period are very rare and have artistic features. Today, despite archeological excavations in Ilkhani sites, not much information has been obtained about these equipment. In the meantime, paintings of the Ilkhani period, due to dealing with battle scenes, are considered as suitable sources to know about the types of war equipments of this period. In other words, the paintings left from the Ilkhani period are pictorial documents that provide us with an image of the war equipments popular in that era. In fact, the realism of paintings in the Ilkhani period compared to other periods of Iranian painting makes it possible to rely on them in order to gain insight about the shape of weapons and to reconstruct the weapons of the Ilkhani period. In addition, writers such as Rashid al-Din Fazlallah Hamdani have recorded the culture of the Ilkhans in Jame al-Tawarikh manuscript in the order of history. The pictures in Jame al-Tawarikh provide us with the details of the life of the Ilkhans. Also, travelers like Marco Polo and Ibn Battuta, who saw the court of Ilkhans and recorded their observations, are considered valuable sources.The present research is to study and analyze the paintings of the Ilkhani period, historical books, texts and travelogues, not only to study the types of war equipment used in this period, but also to present a scheme of them for further familiarization. The purpose of this article is to examine the form, decoration and use of the weapons of the Ilkhani period. in this regard, the present study is a historical, descriptive, and analytical research, and based on manuscripts and written historical sources, aims to answer the question of what kind of war equipments were used in the Ilkhani period? What form and decorations these war equipments had? If the forms and patterns of the war equipment in this period, indicate the military rank of the owner? And if these equipments had a military use or they were just ornamental?The findings of this research show that during the Ilkhanate era, a variety of swords, maces, spears, bows and arrows, defensive shields, armors, helmets and catapults were used during campaigns in the fields of war, and that except for maces with animal heads, other equipments had military use. The evidence shows that arrows and bows were among the most used war equipments in this period, the most frequent of which are in the book Jame al-Tawarikh and Demot's Shahnameh, and it is less common in other manuscripts left from that period. The drawing bows in this manuscript are similar, and only in the book of the Manafe al-Heyvan, a different bow is used. The arrows were carried inside the slings decorated with animal and plant motifs.According to the paintings of this period, in addition to military use and hunting and court ceremonies use, bows and arrows were sometimes used as gifts to the Emperor or Khan. After the bow and arrow, the most abundant are the war maces, which are the most numerous in Demotte Shahnameh and manuscripts Jame al-Tavarikh. Their difference is in the cross-section of the maces, which are multifaceted, winged, spherical, and maces in the shape of animal heads. Winged, round and multifaceted maces are used for military purposes, whereas, maces in the shape of animal heads are more like ornamental maces. This variety of mace in the paintings shows the importance of this war equipment among heroes and powerful people. In the paintings of this period, the mace can be seen in the hands of kings, officials, warriors and heroes in battlefields, hunting, court ceremonies and hand-to-hand combat. The image of a mace is not seen in Manafe al-Heyvan and Al-Athar Al-Bakiyah.Spears come third in popularity. The image of a spear can be seen in the manuscripts of Jame al-Tawarikh and Demotte Shahnameh, but is not present in other manuscripts. Bayonets without blades, short and long, are connected to a long wooden handle, and sometimes a small flag is installed on their upper part.The sword can be seen in all the examined manuscripts, but with less focus compared other equipments. The depicted swords have thin and curved blades and were placed inside a decorated scabbard. This goes back to the fighting style of the Ilkhans, because the Ilkhans were skilled horsemen whose army consisted of cavalry with bows and arrows who aimed shot atop horses. Also, the infantry were mostly equipped with war equipments such as spears, therefore, one of the largest volumes of equipments belongs to these two types. The image of the sword can be seen in court ceremonies, battlefields, hand-to-hand combat and fighting with legendary creatures in the hands of heroes and officials, and in some paintings in the hands of the Prophet and his companions.In terms of military equipment, the most abundant are helmets, which, in addition to covering the head, have a hanger to protect the neck. Most of the manuscripts helmets have a horn-like appendage at the top, which sometimes ends with a cloth ribbon or a bunch of hair. The drawn helmets show the military position of the people, in other words, the helmets of commanders, soldiers and heroes are distinctive. The shields depicted in this manuscript are round and circular, they look easily portable and sometimes their surface is decorated with geometric, eslimi, plant, and animal motifs. Only one example of a shield in Jama al-Tawarikh manuscript is preserved in the University of Edinburgh and one example in Jama al-Tawarikh manuscript is preserved in the Diz collection, a shield in the form of a teardrop (kite) with lion motifs, plant and eslimi motifs, has been observed.Most of the depicted battle armors are full-length armors that cover the entire body in layers. But in the paintings of Demotte Shahnameh and Al-Athar Al-Bakiyah, the battle armors are half-length, layered, and made from cloth or leather. The armor of this period also shows the military position of the individuals. another war equipment worth mentioning from that period is the catapult, whose four forms are depicted in Jamia al-Tavarikh and during the siege of the city by Ilkhans.The greatest abundance, diversity and changes in the form of war equipments of the Ilkhani period are shown in the pictures of Jame al-Tawarikh, Demotte Shahnameh, and there are similarities and differences in the form of each of the war equipment used among the manuscripts. This can be seen even in Jama al-Tawarikh manuscripts and even though all the manuscripts of Jama al-Tawarikh were done in Rab Rashidi and under the supervision of Rashid al-Din Fazlallah Hamdani, however, there are differences in the form on war equipment in Jama al-Tawarikh manuscripts.The equipment depicted in the two manuscripts of Jamia al-Tawarikh preserved in the University of Edinburgh and the Khalili collection are drawn very similar in form. These similarities can be seen more in bow and arrow, archer, spear, armor and shield. Meanwhile, the manuscript of Jame al-Tawarikh preserved in the Topkapisera Museum is depicted in the form of some war equipments different from the other two manuscripts, and in this manuscript, maces in the hands of leaders and commanders with different forms are very noticeable.In terms of form, the greatest similarity between war equipments in the paintings of the Ilkhani period can be seen in the form of bow bag, shield and layered armor, and the greatest difference can be seen in the form of mace and helmet. The motifs used on the war equipments of the Ilkhani period are mostly for decoration and are sometimes influenced by the art of China and Iran. These motifs can be seen in Jame al-Tawarikh with simple shapes, curved lines and sometimes animal motifs. The variety of motifs mentioned in Demotte Shahnameh is more and more delicately displayed, especially on the quiver.

The indigenous patterns of the house in the villages are a rich treasure of identity, culture, customs and architectural identity of each border and environment, which can be studied by understanding the cultural roots and values ​​that govern different societies. In recent years, various researches have been conducted on the analysis of the architectural systems of indigenous rural houses in the country; However, the share of steppe villages in these studies has been very small. Sar Aghasid village is one of the functions of Koohrang city in Charmahal and Bakhtiari province. It is one of the stepped villages in the country that despite the extensive changes that are taking place in the physical appearance of the villages, the physical texture of this village is still safe. This led to the present study to examine the patterns of indigenous architecture in this village and to analyze its spatial, functional and structural systems. The method used in this research is descriptive-analytical based on the field observations of the authors in the village. The results showed that the slope of the land is the most important factor in the formation of housing patterns in this village, so that the existence of different slopes has made possible the class construction of buildings; Also, due to the cold and cold weather, the construction of handicraft spaces to use the heat capacity of the earth is one of the construction methods in this village. Socio-culturally, the houses of Saragha Seyed village can be divided into two categories, including houses with a neighborhood unit and houses without a neighborhood unit. In front of you is in front of the house. Also, the houses have a hierarchical pattern in terms of spatial structure, which extends linearly from the passage as a yard to Dastkand space as the interior of the house.

The distinction between experimental films from narrative films of conventional cinema can be examined in two ways: narrative type and cinematic form. An experimental animated film is also based on these two concepts of personality-oriented animation. One of the two-dimensional experimental animated films is the creative use of drawing and painting, which, apart from conventional stereotypes, represents the visual-conceptual ideas derived from the artist's mind. The purpose of this paper is to investigate the structural components of experimental two-dimensional animated films and their recognition in the chosen work of this research.Due to the essence of the data, the research methodology is considered qualitative and the study process is descriptive-analytical and with a comparative approach. Also, based on narrative theories and definitions of the form, the relationship between the structure of the form and the content of the two-dimensional experimental animated film is examined. Regarding to the qualitative methodology, this article concludes that the time, narration, and editing of this animated film are non-experimental, despite the representation is fully experimental; so if the dominant element of an experimental (2D) animation film is experimental, that film can be considered experimental movie, even though its other components are non-experimental; also, the conceptual content of the work can be non-avant-garde or non-experimental if the dominant and formal element of the film is completely experimental.

The manifestation of the element of fire as a symbol of the divinity of the saints is around the heads of the prophets and imams in Islamic law. A fire that is an expression of the sacred aura, but not in the conventional Manichaean, Buddhist, and Christian form, but in the flame and tongue of fire. The purpose of this article is Symbolic analysis of fire in the Miraj-Name Miniature Paintings from the seventh to the thirteenth century AH. Therefore, the main question of the research is what is the meaning of the element of fire in the Miniature paintings of the 13th-13th century AH? In this article, by examining the symbol of fire and its evolution, it goes beyond just introducing this role and examines the reasons for using this symbol in the form of different shapes (light, circle, flame, etc.) in the Miraj-Name. In some old illustrated versions, fire see in the form of a halo around the heads of all human figures as well as birds and animals. That may be due to the influence of Islamic ideas on the sanctity of all beings and the equal status of all of them with God, but gradually this sacred aura surrounds only the heads of the saints and becomes a symbol of the radiance of the divine light from the holy personality. The shape of the first halo was circular in shape, which gradually turned into a large halo with fiery and golden tongues rising towards the sky, which could be a diagram and symbol of the pure, heavenly and divine lineage of that character. The research method is descriptive and analytical based on library study.

Problem statement: 

Recent developments in construction have resulted in divergence and reduction in the effective communication of the relationship between form, space, site, and architecture, which in turn reduces the audience’s experience and recognition of the inherent and actual concept of the building. Meanwhile, tectonics, as a long-standing technique, with a concept of poetic art can provide a solution for modern architecture which lacks feelings of architecture. Tectonic attitude can be defined as a factor, unifying space and form in relation to the site.

 Research objectives:

This study attempts to examine the relationship between space tectonics and the physical form of cultural buildings of contemporary architecture in Iran in the last four decades, via semantic measurement technics.

This study is descriptive-analytical using a mixed method. Theoretical foundations of research and field study were combined and sources, documents, as well as texts were examined using the library method. The main technique was measuring the connotative meaning associated with the concepts of contemporary cultural buildings in identical periods via the semantic differentiation scale. The appropriate pattern was extracted based on analysis and experts’ opinions.

The main finding of the research implies that there is no significant linear relationship between space tectonics and physical form in any of the periods. The conceptual model components are explained such that a change in space tectonics does not lead to a change in the physical form of the building. Therefore, it can be concluded that the form of contemporary architecture in Iran is different from space tectonics even in the conceptual image of people.

In Islamic architecture, the pulpit is connected with the position of the mosque and the altar, and as one of the additional elements in the mosques, it is considered as an example of religious art. The pulpit next to the altar is one of the spiritual, symbolic, practical, and material points in mosques, which has always increased its greatness throughout the history of Islamic art and architecture. Especially in the Islamic era, it has played a significant role as an influential media with two functions of informing and teaching. Based on this, the pulpit is considered one of the most valuable works of Muslims' art throughout history and one of the best examples of the combination of beauty and efficiency in Islamic art, which Muslim architects always tried to decorate it. In this regard, they have carved Quranic verses, prophetic hadiths, the names of sultans, the names of the producers of the pulpit, and the production date on the pulpits and decorated them beautifully with special Islamic methods such as stars and Arabic lines. In between, the skillful decoration of pulpits that has continued in Islamic lands such as Iran is also important, which was based on a random tradition, in a clichéd form. It can be said that the shapes and designs used in the decoration of pulpits are generally geometric shapes (line, angle, square, cube, polygon, cone, spiral, circle, and sphere). From their combination, new designs, grids, and stars are drawn, also, Islamic and herbal motifs are used inside them. In addition to mosques, the presence of pulpits is also seen in other fields such as painting. Persian painting is the most important image source that tells about something in the past. Persian Painting, despite the small number of paintings with pulpit, has been able to draw it as a religious, political, aesthetic, and effective element in space staging. Persian painting, as an image influenced by religious concepts and values, has a main branch in depicting holy and religious subjects. This branch has always been full of personalities, events, elements, and religious symbols and has been responsible for social, political, cultural, and other responsibilities in different periods. Among these, two types of religious depictions can be listed: 1) Depicting religious subjects (images of saints and prophets with religious elements in a religious settings), 2) Depicting non-religious subjects (depicting non-religious people with religious elements and symbols), which is the pulpit element in the first group was visible.Meanwhile, depictions of the pulpit element are mostly seen in the paintings of the Timurid and Safavid periods, to the extent that in the Timurid period, a significant number of paintings had religious themes and elements such as the pulpit. During the Timurid period, examples of the pulpit are often seen in the paintings related to the schools of Herat and Shiraz. Also, in the Safavid period, with the choice of the Shiite religion as the official religion, religious thoughts took on a new and serious form, and from this point of view, the narration and illustration of books and religious elements were taken into consideration, among which the role of the pulpit is important. In addition, the pulpit and speech are related to politics, and as a result, more attention is paid to portraying it. According to this, we can justify the bold presence of the pulpit element in Safavid paintings, in which painters created an atmosphere different from other spaces by using their objective and mental experiences. It can be seen in most of the paintings related to Qazvin, Mashhad, and Isfahan schools. Therefore, it is possible to reveal the characteristics and formal and visual changes of the pulpit depending on the paintings of these two periods.The purpose of the present research is to investigate the form of the pulpit in the painting of the Timurid and Safavid periods with an emphasis on geometric motifs to identify the similarities and differences between them. The questions are as follows: What are the formal and visual features of the pulpit in the paintings of the Timurid and Safavid periods, and what are their similarities and differences? This research was carried out with a descriptive-analytical method and a comparative approach, and it is fundamental and practical in terms of its purpose. Information has been collected in two ways: the library and the internet. Sampling was purposeful and the statistical population, due to the limitation of paintings with pulpit role, was determined in the number of twelve images (five images belonging to the Timurid period and seven images from the Safavid period). The data analysis was done qualitatively and with a formalistic approach to show the aesthetic features of the "pulpit". In this regard, the findings of the research have been analyzed by emphasizing the form and geometric motifs using Tatarkiewicz's semantic implications for form. He has proposed five semantic implications for form, which this research has taken into consideration regarding form in visual art; the form in the meaning of the second and third groups, i.e. form "B" and "C". Regarding the analysis based on form "B", attention was paid to the representative and figurative forms of pulpits and their components, height and appearance were mentioned. Also, the emphasis is on abstract forms, that is, motifs that are examined in the form of contour lines and colors. In connection with the "C" form, the outlines in the motifs are examined, and then it also deals with the conceptual recognition of the geometric motifs used in the pulpits. The necessity of this research is that the pulpit is visually full of decorations and can represent the art, symbolic concepts, structure, and artistic relations of the considered periods. Also, less research has been done in the field of religious elements and speeches, especially the pulpit in Persian painting. It has not been sufficiently investigated through the lens of the painting of different eras and especially the formal and visual relationships. Therefore, this article can be an attempt to solve this deficiency.The results show that based on the type "B" form; In the figurative form of the pulpit, the parts of the body, steps, seats, gates, and fences are used. However, it can be seen that the railings were not used in the pulpits of the Safavid era. The most concentration and use of motifs in both periods are in the "body" part of the pulpit. Also, the pulpits are depicted from sideview and oblique view, and the oblique pulpits have a better and more beautiful appearance. Due to the side view of most of the pulpits, the approximate height of each pulpit can be recognized according to the number of steps or through the surrounding lines. The number of stairs varies from 2 to 10 and they are medium and tall in terms of height. In fact, despite the minimum number of steps in some images, the height of the pulpits seems to be average. A total of 11 geometric patterns have been used in the abstract form of the pulpits. Meanwhile, the geometric patterns in the pulpits of the Timurid era have a higher diversity and density than the Safavid era. In addition, the use of Islamic and Khataee motifs was also evident in the pulpits which is more limited than geometric patterns, but it is used in 5 patterns; although they have been used more in Safavid pulpits. The abstract form was used in both periods, on one hand, based on type "C" in the form of surrounding lines of motifs, and on the other hand, in both cases, the "B" form, that is, the border or surrounding lines that create the shape of the pattern, as well as the color, has been used. Among these, the predominance of the use of form "C" in Timurid pulpits is in the form of outlines and design, while in Safavid pulpits, the type of color dependent on form "B" is used more.

Research Problem: 

From the past, acoustic quality in the architectural form of collective spaces has been considered by architects. So far, the curve fitting equation and the form of acute and obtuse arcs have not been studied acoustically in large-scale lecture space. Researchers have studied the sound quality of curved roof shapes according to the type of arch, materials, height and their history. By analyzing the equation of curve fitting and form in acute and obtuse arcs in acoustics, it is possible to understand the form and computational structure of the arc based on acoustic quality, Which is directly affected by volume, surface, height to the opening and the curve fitting equation. Impaired speech and language communication is a factor in not paying attention to the acoustic quality of the environment. However, indoor acoustic environments are not limited to professional performance spaces. In recent years, architectural acoustics have used music in non-professional spaces, such as spaces such as offices, libraries, multipurpose spaces, lecture halls, etc. When a speech signal is transmitted in a space, the speech transmission index, the bending time and the speech resolution of this frequency in the transmission path are affected by the architectural form and change and affect the sound quality of the environment.

Research Question: 

What is The effect of architectural parameters and curve fitting equation of acute and obtuse arcs on the components of acoustic quality? What is the relationship between architectural parameters and acoustic quality components?

 Data collection is based on library data and simulated arcs. Using the combined method (simulation, descriptive analysis) is placed in the category of applied articles. After drawing the samples by the algorithm method in Grasshopper software, then the fitting curve by the matrix method was calculated with SPSS 22 software. After that, acoustic simulation was performed using odeon software. Descriptive analysis of arches with violin diagram was performed by RStudio software. Acute and ambiguous arc correlation analysis between architectural and acoustic variables was performed by Spearman method with SPSS software. Spearman correlation coefficient was used to test the relationship between non-parametric acoustic and architectural variables.

 Improving the acoustic quality in the lecture space is one of the most important goals of the architectural design of this space.The roof of the building is one of the most important factors that play an effective role in acoustic quality.Curved ceilings, despite their use and superior thermal quality, are good examples for reviewing and improving the acoustic quality of the lecture space.The analyzes revealed that the acute arcs at the reverberation time (RT) and speech transmission index (STI) had a higher median and at the clarity (C80) had a lower median than the obtuse arc. Decreasing the size of the forms increases the value of the speech transmission index (STI) and decreases the reverberation time (RT) and the clarity (C80). In the present study, the acoustic quality among the two groups of acute and obtuse forms of Iranian arcs is widely used. is