International Journal of Applied Arts Studies
Volume:5 Issue: 4, Nov-Dec 2020

Knowledge has long been in the field of human knowledge. In the evolutionary history of science, many theories and hypotheses have been proposed and proven. This category reflects the fundamental changes in the way of thinking in human knowledge. In the contemporary era, knowledge faces more complex issues. Therefore, achieving growth and production in any field using new methods based on future vision is one of the pillars of human knowledge. In the field of studies, the process of architectural design, the growth and development of creativity, that is, how the idea arises and develops in the mind. Creative results in the field of architecture can be the result of changing components of the problem according to recognizing the existing contradictions in the field of architectural design process. Since design process involves the emergence, evolution, metamorphosis of ideas, and formation of concepts, one of the topics in the design process is conceptual tradition. Conceptual tradition by changing the way of thinking, offers creative solutions to enhance the way of knowing and solving the optimal problem. The role of conceptual tradition in the development of the architectural design process is by changing the components of the design problem. On the other hand, competitiveness is the basis for the growth and enhancement of architectural design field. Therefore, achieving meaningful relationship between changing the components of the problem and competitiveness in architectural design, to increase creativity in the field of architectural design is a necessity of research. The research method has been “deductive reasoning” and using “analytic-descriptive” measures, with quantitative and qualitative approach. Questionnaire is used for field survey. To validate the data, standard evaluation tools and theories of Delphi expert community have been cited. Preliminary data extracted from the first stage in eight architectural projects eligible for research were evaluated through Delphi and related factors were extracted. Finally, using pls software and regression test based on the extracted data, the research hypotheses were proved.

Fundamental changes in Iranian architecture from the middle of the Qajar era contracted Iranian architecture flow in a different direction from the past and affected the building. One of the influential currents in contemporary Iranian architecture is the formation of modern architectural currents and, consequently, the combination of modern architecture and traditional architecture. Traditional fusion and modernism are clearly reflected in the body of several buildings, including academic buildings. This study aims to extract and screen the criteria for tradition and modernism in academic buildings, especially “faculties”. This study uses a mixed methodology. Criteria are explored using semi-structured interviews using grounded theory methodology. The strategy used in the quantitative step is screening using the fuzzy Delphi technique. For this purpose, the criteria governing tradition and modernism are extracted through attributional analysis and desk research. Accordingly, the text of the interview was edited. The results of the interviews were imported into ATLAS.ti, yielding the criteria for tradition and modernism in the faculties. A questionnaire was then developed to assess each criterion's contribution from the perspective of students and faculty. They were purposefully distributed to screen and evoke tradition and modernism in faculty buildings using the fuzzy Delphi and MATLAB techniques. According to the results, for modern criteria, “Free plan”, “segregation of spatial realms” and “avoiding ornaments and excessive simplicity”, belong to the rank of VL membership degree. On the other hand, for traditional criteria, “confinement hierarchy”, and “yard arrangement using natural elements”, Belong to the membership degrees VL, and VL, respectively.

Jean-Paul Sartre's point of view on the originality of existence philosophy is interleaved with concepts such as: freedom, apprehension, choice, awareness and human presence as well as everything that leading to man's liberation is reflected in his plays. Jean-Paul Sartre puts existence precede to the nature and considered the man as a potential free being that in the way of freedom he is responsible not only for himself but also for others. In the book of "Existence and Non-Existence" he is believes in deconstruction in all social and cultural fields. Sartre sees drama as a window for attitudinize the universe. The concept of existentialism in his plays is under the influence of philosophical and ideological propositions. Moral and political characteristics in the works of Jean-Paul Sartre expressed in such a way that describes a kind of worldview with philosophical propositions and dramatic, artful technique. Therefore one of the questions in this article is how did Sartre's dramatic literature benefit from the philosophy of existentialism? How does existence and non-existence appear in most of Sartre's plays? What does the concept of hell basically mean in his works? In this article, an attempt has been made to demonstrate how existence and non-existence and the critique of dialectical wisdom have been evaluated in his plays.

The issue of aesthetics in postmodernism, unlike modernism, denies the aesthetic independence of political, social, and cultural issues, and accordingly, the paradigm of uncertainty in the trajectory of subversive discourses, without regard to objectivity and the issue of individual genius, resorts to techniques such as adapting and imitating previous ideas. Thus, it de-formalizes various cultural genres that have themselves been influenced by the process of modernization of late capitalist currents at the international level in the process of distortion. In the meantime, the intertextuality created by language games and electronic media sub-narratives, relying on the multiplicity of identities, blurs the line between reality and imagination in an aesthetic understanding of photomontage images. The purpose of this paper is to interpret the word "creation" as an adaptation in the process of creating photomontage images in an aesthetic way and based on the paradigm of the pluralism of the late capitalist era. Accordingly, it raises the main question of what interpretation of the photomontage model depicts the accelerated and multifaceted approach to the production of cultural symbols aimed at capitalist modernization in the path of postmodernist aesthetic discourse? Therefore, in a qualitative approach and in a descriptive-analytic study, documented data based on common themes among the variables in the research topic have been analyzed by content analysis method to conclude that the accumulation of space and time due to late capitalist culture with the central discourse of postmodernist aesthetics mixing path marks the atmosphere of cultural symbols that the idea of creating such a utopia of postmodernist atmosphere is compatible with the pattern of photomontage images and their imitation and fusion properties.

The French philosopher Gilles Deleuze was more concerned with the concept of the body in comparison to other French poststructuralist theorists. On the other hand, Merleau-Ponty was a French existentialist and phenomenological philosopher, known for his emphasis on the role of body in the cognitive science, and among the philosophers is known as the philosopher of the body. The body without organs is a term taken from Antonin Artaud. Deleuze in his philosophy, emphasizes fluidity and consonance with the world, and considers the organism to be the prisoner of life. He considers emotion as a force that brings man from potential to actual moment and counts the foundation of art on sensory perception. The purpose of art for him is to convey the sense of things that lead to the registration of forces by the surface of the body. Merleau-Ponty calls the body as a condition for the possibility of any kind of experience, and the "living body" in his view, is the axis of the human cognitive and being in the world. He considers the harmony of the body with the world as pre-reflective and sensory perception as pre-cognitive, and this enumerates sensory perception following the transfer of sense from the artwork and in lived experience. The purpose of this study is a comparative study of Deleuze "body without organs" and Merleau-Ponty "living body", so that it can finally make its audience aware of commonalities such as becoming and consonance with the world and differences such as intention, timeliness, organism and subject position between the views of these two philosophers. Finally, there is an overview of the interaction of this embodied from the perspective of each philosopher with contemporary art. For this purpose, the article first describes and analyzes these two definitions of the body and the characteristics of each in general, finally to achieve the changing position of the agent from subject to body, in the coordinates of life today and the experience of living (both) has caused the changed in the structure of contemporary art in the direction of fluidity and transmission of today's world with a focus on the physicality.

The Imam Reza shrine is a kind of museum with varieties of Islamic arts. In this museum the art masterpieces are related to different historical periods. The age of this great museum is more than thirteen centuries. This is a well-known museum because of the valuable position of the holy shrine of ‘Alī ibn Mūsā ar-Riḍā. There are too much epigraphies around this place. These epigraphies have been repaired by the consideration to their history. There are too many epigraphies from Timurid Empire in the Enghelab Courtyard of Haram. Another name of this courtyard is ancient courtyard. These epigraphies indicate the social conditions of each period. The current research is descriptive-analytic. Library studies and also field studies were used in this research. The findings of this research indicate that epigraphy in the Islamic architecture has an effective role in order to create the spiritualty spirit within the building. This kind of art is derived from the spiritual essence of Holy Quran. Therefore, the purpose of epigraphy in the holy shrine of ‘Alī ibn Mūsā ar-Riḍā is creation of spiritual communication between God and man. The recent studies show that most of the epigraphies are derivd from Safavid era. Most of their concepts are related to the religious contexts.