نشریه پژوهش های معماری اسلامی
سال دهم شماره 3 (پیاپی 36، پاییز 1401)

The issue of how the process of creating and perceiving architectural works and the factors affecting it is an important, multidimensional and interdisciplinary category. However, at present, the process of formation of architectural works in most studies is based on superficial perceptions of human perception and at best depends on the five human senses and, of course, usually limited to some of them. Therefore, it is necessary to address the aspects of this issue from the perspective of anthropological sciences (knowledge of his powers and perceptual tools), ontology (knowledge of the levels of existence) and psychology of the environment (study of the relationship between man and the environment). The present study intends to investigate how the stages of the process of creating and perceiving architectural works are formed by focusing on the esoteric forces, especially "memory" and "imagination" of the architect, and by redefining the stages of analysis, composition and evaluation in this process with a new look. Examine the direct and indirect effects on the quality of formation and realization of these steps. The theoretical basis of this research is the principles of transcendent wisdom and to do it, the strategy of logical reasoning has been used. In the data collection stage, documentary and library studies have been used, and in the later stages, the deductive reasoning method has been used. The results of this research show that architecture, like other human actions, is influenced by the material and spiritual context of growth (lived experience) and the architectchr('39')s perceptions during his lifetime until the moment of creating the work. On the one hand, the architect is influenced by his memory (treasury of meanings) and imagination (treasury of faces) that the dough will be the source of his ideas, and on the other hand, by his actions, ethics and temperament, a level for his rational soul, which is the origin and creator of his actions. , And of course the order of the soul also plays an important role in the efficiency of memory and imagination in human beings because the meanings and forms stored in them are the result of his level of interaction with the worlds. This approach can also pave the way for change in architecture education and training architects . Because it emphasizes that the architect must first go through the arc of ascending epistemology in his being and then try to create in the arc of the descent of the creation of the architectural work.

Many philosophers believe that lifestyle is fundamentally dependent on worldview and ideology. Thus, the emergence of a culture in the social dimension occurs when people's lifestyles are in line with common thinking. Using the concept of guardianship along with Islamic monotheism, the Shiite school offers a practical program for all individual and social aspects of Shiites. In this program, regardless of time and place, it creates a distinct identity. In the process of education, the theoretical foundations and individual and collective skills of the Shiite school are passed down from generation to generation. This study, while recognizing the role of education as a factor in promoting and perpetuating the Shiite lifestyle, expresses the importance of husseiniyahs as a place with the mentioned educational function and to prove the role of husseiniyahs in Kashan in the formation and continuation of Shiite lifestyle. The theoretical framework in this study is logical reasoning and the findings of logical reasoning research are shown in case studies. Finally, the indicators of Islamic lifestyle and education have been adapted to architectural features including function, form and relationship with natural and urban context.

The hierarchy in architecture is an attempt to express the concept of transition and the gradual aspect of the process of perception. This principle is well-known as one of the fundamental principles in traditional art and is consistent with the hierarchy of being above its material level. This principle proposes, in the order of reaching a space, the fundamental pattern of connection, transfer and acquisition, which expresses the aspect of exploiting the acquisition of space. In this regard, the mosque is one of the buildings in which the existence of the principle of hierarchy is very necessary in such a way that the concept of garment from the appearance to the inner part as the most important function of the mosque, is represented by the principle of hierarchy. However, during different periods and over time, the presentation of this principle has been made in mosques built in different styles of Iranian architecture in different ways. In this regard, the present study tries to examine various styles of mosques in the history of Iranian architecture. Accordingly, 16 mosques of four styles including Khorasani, Razi, Azari and Esfahani styles (each of the 4 mosques) are selected as case examples. By analyzing their spatial structure based on existing documents, three dimensions of the hierarchy include the hierarchy The shape, size, and location of each mosque in the style of these styles are discussed. The research method is descriptive-analytical based on historical documents. Using quantitative and qualitative methods including use of space syntax software, using scale meter to extract dimensions, and interviewing experts to analyze the facial features of the mosques in order to analyze the data. Has been used. Finally, the results of the research indicated that in Khorasani style, all three levels of hierarchy were at an elementary level in the mosques; in the mysterious style, the hierarchy of place was considered, but with time, this dimension in the styles Azeri and Esfahani; in the Azeri style, hierarchy of size was very much considered, and finally, in the Isfahan style, the hierarchy of form had the most visibility in the mosques.

Since the sacred shrines are mainly located in the historical contexts of cities, preserving the historical identity of the context is one of the challenges in new developments. In some plans for the development of holy places, it is observed that the principles of planning, regardless of the existing spaces and the historical memory of pilgrims of the building and identity of the surrounding texture, has destroyed the intergenerational memories of individuals and cut off their mental connection with the building. Considering the social and cultural necessity of preserving the spacial and historical identity and mental relationship of people with the place in development planning, this study tries to base on the viewpoint of users in their lived experience of worship in the shrine of Hazrat Abdul Azim, define and examine the research hypotheses. Then interpret the data in a phenomenological way and offer operational solutions as the basis of intervention in holy places. The philosophical paradigm of research is critical discourse. Due to the nature of the variables, the research approach is qualitative, research method is the survey and research design is descriptive-analytical. Explaining the theoretical foundations of research and determining research variables has been done through library studies and field studies, including direct observation, interview and distribution of questionnaires The results of the discussion show that the spatial hierarchy of the building, visual relationship with the dome, quality factors affecting users' perception in any space and the existence of meaningful signs have a direct, positive and significant effect on the components of place attachment in people mental identity of place and preserving them makes the place more identifiable.

Social sustainability is one of the controversial issues which has far-reaching implications for the realms of architecture and urban design. In this respect, Joubareh Neighborhood in Isfahan, considered as the oldest historical location of the city, is of considerable importance. Despite the various values of this neighborhood, its historical texture has been deteriorating in recent years. Accordingly, recognition and setting a set of social sustainability indices may play a major role in conserving the historical values of this neighborhood. Since Joubareh is being depleted of its native residents replaced by non-native ones, the utmost endeavor must be made in order to conserve the historical values of this neighborhood encouraging the native residents to stay. This research aimed to identify those social sustainability indices in this neighborhood in order to encourage the native residents, who have a strong sense of belonging towards their neighborhood, to stay so that the deteriorating trend can be reversed. Joubareh is in fact the oldest location of the city and in the vicinity of which are there several significant monuments, like Atigh Gathering Mosque. So far, extensive research has been conducted on social sustainability in the housing sector. Concerning historical textures, similar research has been done only scantily. Which social sustainability indices in the historical texture of Joubareh must be applied?  How do these factors and variables interact with each other? The methodology is quantitative and the data were gathered by surveying. Questionnaires were distributed and analyzed in two stages. In order to analyze data, SPSS Software was used and the One-sample test and the Friedman test were used to assess and prioritize the variables. In the first questionnaire, the sense of belonging of the residents in Joubareh was studied in terms of gender, occupation, and age of the respondents. The sense of belonging among the tradesmen was stronger than that of the women and of other occupations. Similarly, in terms of age, the elderly showed a stronger sense of belonging than that of others. Generally, the aged male shopkeepers and the aged housewives had a stronger sense of belonging than that of others. Also, in the second questionnaire designed based on the needs of the aged housewives and the aged male shopkeepers, certain factors were taken into account for social indices such as the living quality index (respecting the individualschr('39') privacy and peace), the quality of open spaces in the neighborhood, caring the historical features and revitalizing the lost identity and the quality of social interactions among the neighborhoodchr('39')s residents. The results indicated that the dimension of social interactions is significantly correlated with living quality as well as the quality of open spaces. By the same token, the dimension of social interactions is significantly correlated with the quality of open spaces in the historical textures. Likewise, the quality of open spaces and the dimension of historical textures are significantly correlated. In addition, the quality of open spaces is significantly related to historical texture. Finally, there is not a significant relationship between social interactions and historical textures. To the residents of Joubareh neighborhood, who feel a sense of belonging towards the neighborhood, the social sustainability indices, in terms of priority, include the living quality, the quality of open spaces, historical texture, and finally, social interactions. In brief, the results indicated that the residents of Joubareh neighborhood, including the elderly, both housewives, and the aged male shopkeepers, have a strong sense of belonging towards their neighborhood. The social sustainability indices for the residents were, in terms of priority, the living quality, the quality of open spaces, historical texture, and finally, social interactions.

The Shrine of Abdolazim located in Ancient historical city of Ray is a complex including holy shrines of Immamzadeh Taher, Immamzadeh Hamzeh and Abdolazim Hassni. Immamzadeh Taher’s shrine is placed at the north side of the complex and at the east side of Abdolazim Hassni’s shrine and the museum of the complex also is at the south east of Mosalla (praying room for muslims) which is ornamented with decorative arrays. The complex is one of the most valuable treasures of architectural works and related arts. Its construction dates back to the second half of third Hijri century and it has been developed and evolved up to the present century. The complex has been greatly decorated with some artistic works. Some of the most significant of which are inscriptions by "Mohammd Ebrahim Tehrani known for Mirza Amo" who has been one of the outstanding and well-experienced inscription creators of Qajar era in Iran. The inscriptions were executed by applying Nastaliq script, and are considered important documents in the study of the development of Nastaliq scripts. They were written and made in two calligraphic and architectural methods, respectively, on papers and on seven-color tiles. Nastaliq as a favorite script has appeared in architectural designs attributed to Qajar era along with Thulth script. Thus recognition and awareness of prevalent Nastaliq inscriptions and their transformations are considered crucial needs for calligraphy and architecture communities, but the subject has been neglected by most researchers. Evaluation of calligraphic transformation through paper inscriptions which are directly written by calligraphers is an excellent and professional case study. Furthermore, since the quality of scripts undergo some changes or defects when transferring to tiles, stones or other things, analysis and comparison of paper inscriptions and seven-color tile inscriptions should be paid close attention to. Actually, it is a new look at epigraphy on seven-color tiles in which not only the calligrapher but the tiler also is involved. It can not be denied that production of calligraphic works specially Nastaliq script, is influenced by understanding transformations of scripts and manuscripts in form and structure over time; hence epigraphy and its transformation especially in holy places and the conformity of Nastaliq script with characteristics and requirements of epigraphy as well, have been overlooked by researchers. The purpose of this survey is to distinguish the differences between two methods of epigraphy, on papers and on tiles, and to realize transformations of Nastaliq letters and words when they were transferred from paper sheets to tiles. Library-based and field study resources as well as observational descriptive and analytical methods have been implemented to conduct the study. Some questions should necessarily be answered to obtain the aim of this study. Firstly, what are the differences between Mohammd Ebrahim Tehrani’s paper inscriptions kept in the museum of Abdolazim Hassani’s holy shrine and his seven-color tile inscriptions located in the veranda of Imamzadeh Taher’s holly shrine in terms of writing form of Nastaliq and its composition (tarkib)? Secondly, which attributes should be taken into consideration to classify these inscriptions? The result of evaluation in both types of epigraphy indicated some stylistic features and visual standards for the works available from second period of the Qajar era, namely, writing big sizes of words and letters plus relative structural coherence in Nastaliq writings. It was revealed that slight variations exist between the two types of epigraphy. In the tile inscriptions, for instance, letters and words were written smaller in size and they were also executed bolder in comparison to the paper inscriptions. The stretched letters (kashidas) are noticed to be elongated shorter in this type of epigraphy, though. Individual letters such as ra and vav "ر،و" are not attached to the letter of ha "ه". Additionally, the angel between calligraphy pen and the paper while writing dots (noghte) varies between 36 and 50 degrees. Furthermore, fewer ‘seating’ lines (korsi) and the same type of gemination, the doubling of a consonantal sound, were conceived in composition (tarkib) of the tile inscriptions. It was observed that words and letters underwent minor changes when they were transferred from the papers to the tiles, due to direct supervision of the calligrapher and his expertise in writing on variety of surfaces in addition to the skillful tiler who neatly created the tile inscriptions. Tehrani also has signed his paper inscriptions (1291 Hijri), available in Abdolazim Hassani’s Shrine, as "Mohammd Ebrahim Tehrani" which is the calligrapher's full name. He has utilized black ink on the pale gold background papers to make the inscriptions. Another notable feature is that two types of curved and angular frames are perceived in his paper inscriptions. His tile inscriptions (1301 Hijri), however, have been signed as "Mohammd Ebrahim, Mashhor Be Mirza Amo" which includes calligrapher’s first and nick names. White ink, navy blue backgrounds and curved shape frames were noted as the characteristics of the tile inscriptions by Tehrani.

One of the latest urban development strategies that emphasizes the importance of culture and art in the urban development process is the idea of creative city. Creative city is a cultural approach of urban development that emphasizes the improvement of the citizens’ life quality through the attraction and development of people's talents and creativity. The purpose of this study is to investigate the effects of cultural factors on the formation of creative Irani-Islamic city. For this purpose, the indicators of creative city were collected by using library method and document analysis and in order to examine the degree of compliance of the indicators with Islamic-Iranian criteria, we used the opinions and views of students, professors of religious sciences and professors of urban planning. The sample size includes 230 people to complete the indicators identification questionnaire and 15 people for in-depth interviews. Using factor analysis, the cultural factors of creative Irani-Islamic city were divided into four groups including development of culture and art, literature and visual arts, social and intellectual freedom, and political freedom. The results of the research include cultural and artistic indicators of the Iranian-Islamic creative city, "increasing the level of literacy of the people", "access to reliable library resources and new writings" and "increasing the quantity and quality of press and publications" are among the most important cultural and artistic indicators. "People from other cities and countries have the last three priorities to create demographic and cultural diversity," "expand the art of music," "increase the number of music shops and schools." Finally, in order to extract strategies, in-depth interview technique and content analysis have been used.

One of the most important dimensions in the design of Islamic buildings is the creation of privacy. The word ‘privacy’ means ‘environment’, referring to a place where its support and protecting is obligatory and as a whole, it is a barrier to avoid others’ assault. It is of utmost importance in traditional houses especially in Islamic countries the houses separate the family privacy from the strangers and guests. In fact, this privacy separation is one of the hidden dimensions of Islamic houses were its expression and appearance in architecture varies depending on the geographical, cultural and climatic contexts. The stated question is that, how will the ‘privacy’ concepts find various expressions and appearances in different lands depending on different cultures and locations? This is an experimental and descriptive study and aim to study the ways of matching the concept of privacy with the local models of houses. The study has selected houses from three Islamic cities and investigates the behavioral and residential models in these three different houses and to study the concept of privacy as well to investigate the appearance of its various expressions in the models of special houses.  On the basis of study hypothesis, there has been a relationship between the way of the privacy appearance in Islamic houses and the local models. By comparing the results, and analyzing the hypothesis, the result shows that along with effective theories in the creation of privacies, the location too has an important role on the appearance of the privacy concept. Thus, the study results can be the start in the recreation of privacy concept in the modern Islamic houses with regard to the location.