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سال هجدهم شماره 94 (فروردین 1400)

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.

The relationship between “Architecture” and “Architectural Conservation” based on interconnected common foundations, is a traditional issue. The problem of the present research, formed around a triple relationship among “Architecture”, “Technology” and “Architectural Conservation” parallel to technological evolution, has resulted in ambiguities in the architect’s role in the modern triple relationship, which has not yet been resolved in the developing societies. Research

The purpose of this study is to investigate the architect’s role in architectural conservation following the technological evolution from traditional to advanced in Western developed societies to attract the attention of developing societies to this issue. Research

This paper was written by a combination of historical and causal methods that are the qualitative approach’s subsets.

“Architectural Conservation”, after challenges that have had by pure attention to the artistic or technical aspects of “Architectural Technology” as well as the neglect of social values, nowadays, has chosen a middle ground that considers both dimensions and social values, affected by culture-oriented paradigm. The connection of “architecture”, “technology” and “architectural conservation” to each other and society as a rule derived from the culture-oriented paradigm, has made the presence of the architect in architectural conservation inevitable in terms of covering architectural dimension in this triple relationship on the one hand and establishing a connection between this triple and the society’s culture on the other hand. Besides, considering the architect’s ability to establish a suitable interaction with the experts of “Technology” and “Architectural Conservation” and create a favorable balance between these two domains, it is the architect’s responsibility to take on the leadership of this relationship as a professional duty.

Urban parks have a great impact on people’s physical and mental health. Today, despite the global importance of inclusive design, research, and related criteria in Iran, people with limited mobility are less present in parks due to the unavailability of parks. It seems that this issue is due to insufficient technical knowledge of designers, supervisors of urban and civil designers, disregard for the rules and also ignorance of the physical condition of people with limited mobility. Research

The purpose of this study was to evaluate the accessibility of parks in Tehran for people with physical limitted. This evaluation is done with an emphasis on the concept of inclusive design so that all people, regardless of their physical abilities, can benefit from the facilities and equipment available in the parks.Research

First, through theoretical studies, the characteristics and limitations of movement of different people in society were identified. Then the physical and non-physical principles of the concept of inclusive design were examined.. In the next step, the equipment in the parks was identified and the availability indicators were determined by the experts. In the third stage, a case study evaluation checklist was prepared and completed through a survey. Data analysis by Delphi method and the results, after extracting points and weighting options through Excel, were plotted and analyzed.

The results show that several factors cause the unaccessibility of parks that are effective in the design, implementation and operation stages.. The most important of these factors are ignoring the principles of inclusive design, ignoring design criteria for people with physical disabilities, lack of knowledge and sufficient technical knowledge of contractors in the correct implementation of projects, and creating secondary obstacles after implementation due to improper management.

Each of the carpets of different regions of Iran can carry a message, concept, or symbol behind their patterns, the discovery of which will accentuate understanding the authenticity and providee the historical, cultural, and ritual values of Iranian rug designs. The carpets woven in Markazi province are among the prominent carpets of Iran; one of the authentic carpets of this province is “Farahan Sun Medallion” rug, to which little attention has been paid. Research

The primary purpose of this study, which is of a qualitative and descriptive-analytical type, is to analyze the sun symbols in this carpet, to discover the conceptual relationship and its special connection with the holiness of the sun, as well as to introduce Farahan sun medallion rugs.Research

To search this connection, by reviewing the cultural-historical background of the place of this carpet, namely the ancient county of Farahan, the importance of the sun in the past rituals and culture of this land was taken into account. Then, the samples purposefully collected from library and the Internet documents, based on the structure and elements of the visual index, were divided into three categories: main, vase-pattern and Vagirei (recurring patterns).

In quest of sun motifs in these three categories, elements such as the three-branched flower tree, the lady sun, the lotus, the geometric sun flower, etc. can be realized, which are classified as human, animal, plant and abstract. Finally, due to the multiplicity and variety of the usage of sun motifs in this type carpet and its conceptual connection with the sun, the patterns of this carpet can indicate the holiness of the sun in the history of this area as well as other regions of Iran and the manifestation of this concept on Farahan sun medallion rugs.

It is needless to say that Iran’s original Islamic architecture after several centuries is still catching the eyes and minds. To study this continuous influence and desirability, one of those items that seem to be important is the existence of forms, which can be frequently found in these works. It seems that some of these forms have always had validity and originality and represent particular concepts. But there are few studies in the theoretical literature as regards Islamic architectural works that are devoted to the study of the true relationship between these forms and meanings (from an ontological point of view).Research

The present essay aims to provide the ground for understanding the true relationship between forms and meanings of architecture relying on the rich wealth of Islamic mysticism (intellectual school of Ibn Arabi). In doing so, it struggles to be an effort towards understanding the truth of architecture through the reading of sources of Islamic mysticism from the perspective of a more general horizon.Research

This study is composed of two document-analysis-based and inferential parts and its main “strategy” is based on “logical argument”.

Relying on the implications of Ibn Arabi’s mysticism, one can see an architectural work as a living and hierarchically existential entity just like the totality of the phenomena in the world. Thus conceived, an architectural work can be of vertical expansion in the system of the universe ranging from the essential or primordial level to the external or superficial level. Meanwhile, the essence or “spirit of architecture” can be considered to be its incorporeal form in the world of quiddities which has no form and matter and represents the existential origin of architecture insofar as this essential quality determines the life span of the work and in one sense, it is the very existential cause of the work as a whole. Then, the life span of architectural works is relative. “Body of Architecture” is also equal to the emergence of the work in the sensory world and material body. These formal and semantic levels are interdependent, co-originated, and existentially related and represent the rings of a chain and are continuously present in architectural work.The other point is that the thing that is created by man including architecture is influenced by his internal belief and perspective of the universe. In the mystical field, an understanding of the world and its phenomena is presented in which the presence of Absolute Truth plays the main role in evident and hidden layers. Then, since the man who has been cultivated by Islamic ontology with his vertical vision sees the world as a hierarchical entity, Islamic architecture is also seen as a vertical chain the sensory form of which is of a vertical and existential relation with its essence and meaning. Moreover, in this perspective, forms of architecture are interpreted in relation and interaction to/with the Origin of Existence and just like all other phenomena, the virtue of architecture has a perfect share of existence and a higher level of life. One can state that Muslim architects struggle in line with their ontological doctrines to design a living and perfect work as a mirror of Truth and express the existential and evolving meanings within the framework of an appropriate and desirable form.

Jāme’ Atiq Mosque of Isfahan is a grand outstanding ancient monument of the Islamic era. It has been a subject of interest for several studies, but most of them have simply covered its physical features, and its cultural and social aspects have been neglected. Moreover, Jāme’ Atiq Mosque of Isfahan is a monument that has continued to endure throughout centuries. Therefore, this research attempts to find cultural and social factors influencing the historical importance of Jāme’ Atiq Mosque of Isfahan. Furthermore, it attempts to discover how these factors have caused the physical and functional durability of this building over time, especially when the rules and craftsmanship of protection and restoration were not yet identified.Research

The purpose of this study is to identify sociocultural factors influencing the durability of Jāme’ Atiq Mosque of Isfahan throughout history relying on historical references and documents (i.e. the mosque’s inscriptions) and contemporary research. The results of this study can assist in developing the most convenient strategies for maintenance based on social participation and the preservation of life and structure of ancient sites.Research

 This study is based on the grounded theory, using data that have been systematically gathered and analyzed during the study. According to this theory, open coding was done at first until reaching a theoretical saturation. Then, codes were classified and analyzed until obtaining selected codes.

 Results show that five major cultural and social factors have played a critical role in the endurance of Jāme Atiq Mosque of Isfahan, including attendance, participation, founding and dedication culture, variability, and modernity, which have protected Jāme’ Atiq Mosque of Isfahan from collapse for centuries.

Zurkhaneh has been a place for sports and personality transcendence in ancient Iran. A place where there is lots of ambiguity in its origin and its reason. But this ambiguity has not prevented the emergence of commonalities in theories about Zurkhaneh. The extracurricular functions of Zurkhaneh in the society of ancient Iran have been studied in all theories. It has made this element doubly important in the Iranian city.Research

In this paper, with the aim of studying the landscapes of Zurkhaneh, different theories related to the emergence of Zurkhaneh have been discussed and the functions of Zurkhaneh have been analyzed to study it as a landscape.Research

The method used in this research is descriptive-analytical and documentary and library studies by studying and analyzing data extracted from the valid books and papers.

Various theories attribute the formation of the Zurkhaneh in  Iran history. From the Mehr religion to the Safavid era. And each has stated reasons and symbols for the argument. In studying the landscapes of Zurkhaneh, it has been determined that Zurkhaneh has different functions such as a social place to gather, promote and propagate religion, education, education and culture, helping and supporting people and holding various rituals and ceremonies in addition to sports. A review of these functions can demonstrate the Zurkhaneh not as a historical place but as a unique cultural landscape.

As the classical Iranian architecture went out of fashion during the Second Pahlavi Era, Iranian cities were poised for renovation. In the same period, the Soviet modernization campaign in Uzbekistan led to major developments in the country. In this light, International Style architecture emerging in the two countries appears to have some similarities and differences.Research

This study aims to discover how the International Style was introduced, developed, and affected the architecture and construction practices in Iran and Uzbekistan to answer the following questions:  Have modernist intellectual, political, and social movements in Iran and Uzbekistan influenced architecture and construction and the introduction of the modernist International Style in the two countries? What is the nature and structure of International Style architecture in Iran and Uzbekistan, and what are their similarities and differences?Research

The present work is a comparative study and adopts a qualitative approach based on documentary and field studies. Historical–theoretical foundations were gathered by the interpretive historical method, and architectural works were analyzed by a descriptive–analytical approach. The statistical population consists of International Style buildings constructed in Iran and Uzbekistan during the Second Pahlavi Era, and the sample comprises structures belonging to the same period (construction year) that share stylistic physical and functional similarities.

The results are suggestive of the objective, functional, and physical manifestation of the modernistic International Style components in both countries, but objective components appear more accentuated. Uzbekistan, however, displayed an attempt to restore its historical roots from 1971 to 1983, which is reflected in the nationalistic style of architecture materialized in the Islamic decorations of the building façades dating back to this period.