نشریه پژوهش های معماری اسلامی
سال نهم شماره 1 (پیاپی 30، بهار 1400)

How to distribute the urban space fairly, in a way that, in addition to protecting the rights of private owners, also respects the rights of the people of the city, is one of the most fundamental issues in the field of architecture and urban planning. Addressing this issue is delayed by accurately understanding the nature of the city space, and calculating the rights involved; In the present article, an attempt was made to address it based on the teachings of legal jurisprudence. According to the results of this research, contrary to Article 38 of the Civil Code of Iran and the opinion of some early jurists, the city space is divided into three main parts based on the ownership of its lower land: "a. The public space of the city, which consists of two parts: space on public thoroughfares and space on private property, beyond the usual height limit. B. Private space, space adjacent to private property, below the standard height, which is located behind the common space. J. "Shared space, space bordering private property, below the usual height, which is adjacent to public spaces in the city. The first type of these spaces is among the public property and is an example of public commonalities and, of course, in public ownership. The second type is private property and privately owned land under it, and people have a easementright to it. And the third type of this space is among the peripheral property that people have the right to share. This perception of the nature of urban space can be effective in re-reading urban laws and, consequently, the realization of citizenschr('39') rights.

Type and level of religious beliefs, rules and contents generally and the religion specifically can be represented in the culture generally and in the architecture and the structure of the sanctuaries specifically. In Judaism and Islam which are based on their special ideology, such representations are the sign of the religious thoughts, rules and beliefs related to their religion and worldview which is reflected in the appearance and the structure of the sanctuaries and mosques. Several views have been stated by the scholars on the features and the architecture of the religious buildings and mosques during different historical periods with different appearances and frameworks, but nothing has been mentioned about the general and specific differences and similarities of the early places of worship in the history of the Judaism and Islam. So, this study has investigated and analyzed the structure of the religious buildings of Judaism and the mosques of Islam focusing the analysis of the process of formation of the early buildings based on the theoretical and religious texts. The present study is considered a descriptive-analytical study in respect of research method. The results obtained from this study indicate the commonalities in the historical features of the time of appearance of the early places of worship in the Judaism and Islam. This was also specified in the investigation and lexical rooting of the words relating to the early religious buildings in Judaism and Islam: in Judaism the temporal-spatial situations of the Zion have been effective in the appearance of each place of worship with its special name. In the section of the theoretical fundamentals of Judaism and Islam it can be said on the features of the architect and manufacturer of the places of worship that they have some commonalities, but they differ in the various sections of architectural and structural design.

Complexity and conflict are some of the strategies to increase visual diversity, which is less considered today in the context of extensive construction and adherence to the universal, inclusive model. This issue has led to long-term boredom in contemporary homes. However, the factors of contradiction and complexity are seen in the visual diversity of traditional architecture. In this way, the set of opposites as a strategy for creating some visual difference is one of the essential items that can reduce architectural spacechr('39')s uniformity. In this regard, since the utilization of the contrasting phenomena has some different consequences in architecture space organization (from positive to destructive impact) so, it must be evaluated in a valuable physical environment where this concept of conflict is well traceable. One of the most useful settings can be considered to be a case study for assessing the utilization of the opposite phenomena, is the traditional architecture in Iran. This architecture is full of exemplars that can be useful for learning architectural design. In this research, because of the undeniable quality of traditional houses in Yazd, these houses selected as research case studies. What follows in this discussion is a qualitative assessment of the traditional homes for finding the kind of the opposite phenomena and the process application to use them. In this study, the research method is based on grounded theory, and the field information was collected in two sections: open interviews and observations. The results of this research show that Structural and visual elements of the traditional houses in Yazd consist of the positive association of conflicting elements that you can experience in different situations. The results of this study indicated that the physical and spatial structure of traditional houses in Yazd had provided conditions where one can experience a positive association of opposites in different situations. In this process, it was found that the types of opposites that can be classified into four types of sensory, perceptual, visual, and symbolic contrasts increase the best understanding of the phenomenon, respectively, balance the totality of space, increase diversity and increase the semantic load of space.

The historical Fabric of Boushehr has a high visual form and performance capacity that has been very influential in the urban landscape. So many special elements and factors can be found in architecture and urbanism of the Boushehr that even is not seen in other neighboring cities with same climate. Shanashir is one of the visual capacity that is vernacular in this place. Today this architectural and vernacular factor is ignoring in construction and it has been forgotten.

The meaning of the Shanashir word is not available in Persian dictionaries. Some scholars believe that this word is equivalent to Shansheel in the Arabic language. Shanashir has been used in architecture of various countries, including Arab countries, North Africa, parts of Europe such as Turkey and Spain and South Asia. Traditional version of Shanashir had many important environmental functions and specific parameters for design through recognized patterns. Shanashir did not provide only a decorative and aesthetic element, but also it was designed to perform many environmental functions like adjustment of lighting, humidity and air flow control, reducing the heat, and playing an essential role in securing privacy. Unfortunately, today this functional element of architecture ignores in the modern building and if it be applied donchr(chr(chr('39')39chr('39'))39chr(chr('39')39chr('39')))t abide by these aspects.

The aim of this study was to recognition and rehabilitation of this valuable element of architecture, and the consolidation of its position and value in indigenous architecture of Persian Gulf region, and answers to these questions: What are the principles, features, patterns and performance of Shanashirs in Bushehr? What kinds of Shanashirs are available in Bushehr and what is their difference? In order to answer the research questions, author was conducted to investigate this element of architecture with using the descriptive-analysis methods. So this paper contains the parts are as follows: the theory part that introduces and defines the fundamental of Shanashir, and the field part that reviewing the Typology of Shanashir in historical texture of Bushehr. So the theoretical part of paper, accomplished by using the library resources and the field studies is done by using authentic maps, direct observation of these buildings and interview with experts, old photographer and Homeowners. These historical buildings related to Qajar era. The comparison between these houses shows the difference of Shenashir and their frequency in Bushehr. Among all historical buildings of Bushehr, all of the buildings that have Shanashir and their plans and map are existed, has selected to review so The collection of 17 historic building that have been registered with the Cultural Heritage, Crafts & Tourism Organization and 5 Unregistered building have been reviewed in this article.

In the classification of Shanashir, various factors such as location, different types of form and shape, different structures, varied decorations and also the function which are expected from the Shanshir can be considered in their diversity of them. In the historic building of Bushehr, the exterior Shanashir is usually facing the sea and for the use of vision and a cool sea breeze, but in the internal types, in the four fronts of the building, they have been seen to Creating connections between spaces. In a form typology according to the differences that seen in Shanashir, these elements were examined from three perspectives: plan, facade and perspective. The geometry of Shanashir can be divided into 5 groups of linear, L-shaped, U-shaped, triangular and quadrilateral.

External Shanashir in Bushehr are usually linear and l-shaped, but the inner Shanashir have a variety of 5 categories. There are three types of fully-worn, semi-open and completely open. Shanashirs are either protruding or flat in the facade of Shanashirs in Bushehr. The appearance of them is different and according to this difference, there are different structures. The diversity of construction methods of Shanashirs is one of characteristics which have led to diversity and beauty of faced in historical fabric. Windows shade or animated shutter are also used in some of Shanashir. The contrast of brown or blue Shanshir on the white facede of building, make it very conspicuous.

According to the studies that had conducted on the Shanshir of buildings in this research, the authors found the points and characteristics of the Shanshirchr(chr(chr('39')39chr('39'))39chr(chr('39')39chr('39')))s element in Bushehr:Shanshir is essentially an element imported into the Bushehr architecture, but has been changed and identified in accordance with the culture and climate of the country. This architectural element is a functional space that has different functions such as the following:Climatic reasons such as preventing solar radiation, passive cooling, thermal filter; Aesthetic reasons: Creating variations in the facade, vitality, fluidity and dynamism, readability; cultural reasons: creating the privacy and nuisance vision control; functional reasons: Creating a connection between inside and outside space, flexibility, creating a terrace, vision and landscape.

Aesthetic chills have been hinted in the writings of some scholars for about two centuries, as a response which occurs through the five senses and it is accompanied by physical sensations, although not more than four decades have passed since the first scientific studies. This reaction is associated with the experience of goose bump and shiver in the spine and shoulders, or a tingle in the scalp and often occurs in the face of a beautiful stimulus and art, specially music, but scientific discoveries, religious practices and in general, anything related to the basic human need for cognition can also cause it. The experiment of understanding architectural space, which is a multisensory perception and experienced equally by eyes, ears, nose, tongue, skin and flesh, can be perceived by this form of aesthetic reaction. With a focus on religious architecture as a building where aesthetic stimuli are abundant and beside that, it is a place for religious practices, and the shrine of Imam Reza as one of the most important religious buildings in Iran, present research pursues the impact of architectural space on the aesthetic chills response. The architectural space of the shrine has a psychological effect on the viewer by using materials such as marble and gold, which reflect the light the most, as well as various aesthetic forms. Marble is also associated with the acoustic properties of the environment due to the reverberating sound, which greatly affects the sense of hearing in aesthetic perception. The study has been done by descriptive-analytical method and based on field survey through a questionnaire which is part of a larger research that in addition to the impact of architectural space qualities, has analyzed the relationship between personality traits and religiosity with aesthetic chills experience. The aim of the study is to identify spaces and actions that, as an independent variable, affect human emotions as a dependent variable and cause the chills response. Considering the architectural structure as a space its perception is beyond sight and related to various senses and measuring the aesthetic chills response, the test results of 307 participants in this study show that some spatial structures such as the tomb have the most impact on occurring chills via the sense of touch. Also, sounds such as the sound of the call to prayer and the naqareh are effective in the next stage through the sense of hearing. Findings show that in addition to architectural space and elements, spiritual feeling also has an impact on creating shiver, which can be a significant point in the construction of religious buildings with spaces and forms that strengthen the person’s sense of belonging to the building.

Problem statement: The concept of resilience has long been published to explain how different types of systems respond to unexpected shocks, and research on resilience of environments to abnormal hazards has just begun, requiring extensive reflection and consideration. Spatial resilience thinking is as one of the new dimensions in the field of resilience and architecture. This dimension seeks to address the issue of the vitality and dynamics of the architectural space by preserving identity and function through attention to specific characteristics and capabilities of the space over time versus gradual and slow disturbances. resilient space as the appropriate context for possiblity continued vitality provides dynamic while maintaining performance; It shows little vulnerability in the face of crises over time by the spatial capabilities, and responds to changing conditions through adaptation to the needs and demands of the society, and satisfies spatial userschr('39') satisfaction with different tastes and guarantees and sustains the vital system of space. But most of the newly constructed spaces are vulnerable to crises and lose their efficiency quickly and the users of space leave and vacate; Therefore, the historical bazaars of Iran, as one of the valuable spaces that have continued to operate despite changes in different periods and have been able to meet and provide the suitable body for the needs of the day, are remarkable. Therefore, to resolve part of this epistemic vacuum, the present study focuses on the limited domain of the Amir complex in the historical bazzar of Tabriz, considering its position and role in the life of the Bazzar Tabriz has paid off to the rooting of the resilience of this space and examining its spatial capabilities. So this research seeks to answer the question of how resilience has been achieved in the historical space of Iranian bazaars? And how has the resilience of the Amir complex in the historical bazzar of Tabriz come about in light of the changes in recent years?

There were the glorious examples of the architecture of mosque once in Iran.They were the places for equality between all classes, so they must have qualities for invitation, guidance, and reminder and call the believers and attract other followers of religions as the missionary of Islam. This invitation is not only in the field of vision, but also in terms of audio and other means, such as multi-functionality, centrality, and location of deployment. This architecture was considered to be the main factor in identifying the complexes of Muslims due to its comprehensiveness, importance, severalty and high status in the past times, But today it has lost its inviting role because of structural changes. In contemporary times, as well as the changes in the structure of the city, due to the changing needs and functions of the mosques, as well as the distinction with dimensions and their location in the urban structure and economic constraints, the goals and characteristics of the mosques were also forgotten; So that today all the social groups have reacted from citizens and worshipers to architects and urban designers. Paying attention to the Invitation role of the mosques forms the central idea of the present paper. It is one of the pillars of urban design and planning in contemporary city centers and neighborhoods. All aspects of the invitation in the body, function and meaning are important in this research. The present paper addresses this question: How can we use the physical, functional and semantic components of the mosques to enhance the quality of the invitation on the urban and local scale, the entrance view, as well as the interior space of the building. This paper is looking for the optimal design process. In this regard, using the content analysis methodology, we are going to refresh the actions and theories in the field of related topics. We are presented a desirable process to promote the quality of the invitation of contemporary mosques by achieving a conceptual and applied framework. We elaborate the subject by selecting 8 examples of contemporary Tehran mosques. We analyses the elements affecting the general form of the building, the external walls, the design and the entrance and the interior space of the mosques by referring to library resources and field observations. The results of the analysis show that an ideal set of physical factors to semantic components affects mosque admission that has a significant effect on the enhancement of the presence of the individual and the community. These results categorizes and describes in terms of criteria of visibility and centrality in urban scale, admission and guidance in middle-level scale, meaningfulness and visual memory in the outer walls and the entrance perspective, convergence and spatial regulation in the interior space of the mosques.