مجله صفه
پیاپی 100 (بهار 1402)

The concept of design is associated with the notion of constraint as a limiting factor, and the search for the constraint in the design process is essential in design research. This study applies the ontological method to define the domain and scope of constraints, their classes and subclasses, and how to apply them. We concluded that there are two types of constraints in design: inside the designer’s mind or internal constraint and outside it or external constraint. Each of these is classified into two subclasses: internal constraints can be divided into deduced and subject constraints, and external constraints are categorised into imposed and intrinsic constraints. In the end, we proposed a model that shows that designers can identify, choose, manage, and even generate constraints in the design process to facilitate the restructuring of the design problem, which helps them solve the design problem.

Simplicity in architecture has always been considered a discission of utmost importance in architectural circles. In this article, simplicity in architecture is explained in both its material and spiritual aspects. In the material point of view, simplicity is summed up as a means to achieve the desired material end in the architectural structure. In the spiritual perspective, though, in addition to the material aspect, the architectural work must also establish simplicity in order to achieve a spiritual end. The conformity of the material to the spiritual end in different religious teachings is interpreted as asceticism (Zuhd), whose qualities, levels and limits can vary depending on the worldview of each, and in turn it affects their architecture. Therefore, the main question of this research is what constitutes the Islamic simplicity and how it is manifested?The hypothesis cum answer to this question, does not consider Islamic simplicity as the elimination of ornaments, patterns, colours and signs from the architectural work. In line with this, a qualitative research is conducted based on descriptive-analytical method, in which the material aspect of simplicity is studied in architectural sources, whilst its spiritual aspects is sought in moral and religious sources. The results showed that contrary to the monastic approach that rejects any desire for the world, the Islamic simplicity considers true asceticism as based on moderation and creating the greatest divine closeness to the desire for the world. Therefore, an architecture based on Islamic simplicity is multifaceted, all of which intending to bring about a nearness to God. Islamic simplicity in mosque architecture was then studied as a manifestation of Islamic art. The results showed that the concept of simplicity in the architecture of contemporary mosques, both in explaining the material end and its adaptation to the spiritual end, is not consistent with the Islamic simplicity explained in this study. This means that some mosques do not have their most desirable material condition and do not use true Islamic asceticism in explaining the spiritual end.

This study aims to determine the occupancy load factor (m2/person) for cinema waiting areas in accordance with Iranian conditions. The occupant load factors are determined in the Fire Standards of Iran, relatively comply with international codes and standards such as the International Building Code . bearing in mind these factors may vary in different contexts, some of them may not be accurate enough for use in Iranian social, cultural and biological conditions.In order to implement the proposed idea, the required data were collected from library studies and field surveys. To achieve more accurate occupant load factors, the area of occupancy was surveyed and the maximum number of occupants was recorded through measuring and interviewing cinema managers. The average method was then used to calculate these occupant load factors. Finally, the obtained values were compared with data from library studies.The results show that the number of movie theatres in each floor is an effective factor in the value of occupant load factor. Accordingly, the waiting area for a maximum of two movie theatres have an occupant load factor of 0.38 square metres per person, and the waiting area for three movie theatres have an occupant load factor of 0.55 square meters per person. For waiting areas reserved for more than three movie theatres, the occupant load is not calculated separately, as the results show that the type and characteristic of the adjacent occupancies have effects on the occupant load factor.

First-year students in transition from hometown to university are generally confronted by intellectual and social challenges as well as those associated with the formation of new place attachments. Place attachment is an emotional and positive connection between a person and a place that makes space a special place for people, and essential for attracting students to a new educational environment. So, it is important to know the variables of place attachment in the design of campuses. With the developments in the field of science and attention to outdoor education, the design of campuses to improve the quality of education are of particular importance. The purpose of this study was to explain and prioritise the dimensions and factors of place attachment in university campuses near major cities and the faculties of architecture of Najafabad, Khorasgan and Khomeini Shahr Azad University (all within easy reach of Isfahan). It is an applied research, using descriptive-analytical and qualitative and quantitative (combined).At the beginning, researches in the fields of environmental psychology, place attachment and university campuses were reviewed and the dimensions and factors of place attachment were extracted. Then, the three samples were examined and by completing the observation checklist and the questionnaire form obtained from the theoretical studies, the dimensions and factors of place attachment were evaluated from the students’ point of view. The results show that the ten dimensions of place attachment from the perspective of students in university campuses have been of varying importance. Familiarity with place, roots, meaning of place, social connection with the place, satisfaction with the place, place attachment, Emotional connection with the place, dependence on the place, connection with nature and place identity, being priorities respectively, and physical factors, social and semantic factors of the place, being the first three, and the place activity factor, being less important. To conclude, design solutions are proposed in accordance with the presented prioritization.

The metropolis, modernity, and the capitalist economy are inseparable, and it is not possible to investigate each one in isolation. Dominated by of modernity, power and hegemony of capitalism, the metropolis has turned into an encoded space of content and meaning, with its own mysterious language, continuous influences the residents’ self-awareness. It produces a metropolitan typology in accordance with the existing urgency and complexity, and generated increasingly alienated people. It has caused a discontinuous and disintegrated experience of time and space that disrupts processes of forming image and memory of the city. From the left’s point of view, knowing the reality of cities depends on deciphering these meaningful images that require cognitive methods beyond positivist methods. To understand the metropolis is – to some extent – to understand our present age. Wherever the hieroglyphics of any spatial image are deciphered, there the basis of social reality presents itself. What we see on the surface, so any Marxist-inspired cultural theorist would argue, is the product of deeper underlying forces, and in order to understand these forces we need to interpret the surface level. From this point of view, reading what has never been written by re-reading the experience and understanding the image of the city can be useful in showing the neglected realities caused by the metropolis, modernity and capitalist economy. Assuming the city as a text for explaining the hieroglyphs of the modern metropolis of Tehran in representing the mysterious language of the city, quantitative and qualitative content analysis method was used in this research. For a concrete study of informal story and understanding the received messages through taxi drivers’ mindscape, and image readout was carried out. Analysing the informal stories shows that there is not any integrated policy for a purposeful representation of Tehran or there is no right tool for this purpose. According to the findings, we can claim that the language of the modern Tehran metropolis under the effect of Modernity paradigm and Capitalism is so discontinuous and disintegrated that it deteriorates any formation of memory.

For thousands of years, the diverse needs of human beings have been met through the exchange of products with others. This has led to the construction of designated spaces and places called bazaars in various forms. The bazaar has long been one of the most important elements in shaping the structure of Iranian cities, but there is no consensus among experts on the origin of the bazaar. There are at least two different views about its origins. Seyed Mohsen Habibi attributes the emergence of the bazaar to the Achaemenid period. But some other scholars such as Jahanshah Pakzad consider the birth of the bazaar as dating back to the Seleucid period, considering Greek roots for it. This article is a foundational, qualitative and documentary study, trying to evaluate both views, based on the available historical documents and evidences, to identify a stronger hypothesis. Since the purpose of this study is to investigate the origin of the bazaar in Iran, the focus is only on pre-Islamic Iran. The findings refute the view about the Greek origin of the bazaar, and favours the view of the birth of the market during the Achaemenid period as the more probable. However, this is far from definitely true, because there is also some evidence indicating the origin of the market to be before the Achaemenid era, as the ancient settlements of Iran also had their version of the bazaar.

The ornaments of the Qajar period reflect how Iranians adopted their approach to modernism from the West, and the way in which the architecture of this period was influenced by different architectural styles of the 18th - and 19th- century Europe. Influenced by European Rococo and Neoclassical styles, the Qajar Period is a time of change in Iranian architecture. An important type from this period is the residential pavilion in the middle of gardens with open views outwards. Here the role of window is changed from an element open to inner courtyard, to a façade looking towards the exterior garden. Therefore, an important architectural element reappears: the window-pediment. Investigating how Qajar architects used Western elements in ornamenting the facades of new buildings, this study has selected the 19th century Ahmad Shahi pavilion in Niavaran Palace, which contains 21 windows and two walls decorated with window-pediment. Using descriptive-analytical method and close-range photogrammetry as a system for data collection. The walls are carefully photographed together with their window-pediments, reproducing accurate façades with the help of Agisoft Metashape and orthophotos. Then, by comparing the facades, three types of forms were identified: simple triangular, scroll-shape broken and spiral-shape broken pediments. A precise lassfication of pediments, taking into account the characteristics of shapes and the filling texture of the pediment context, shows that there are 16 different types of pediments. There are similarities between paired pediments and those to the sides of arrays of three and five. The southern wall on either side of the decorative staircase is the most elaborate, with the apex of open, broken pediments crowned with the popular motif of the Qajar period, namely, flowers and vase. The research has concluded that creativity and improvisation in changing the shape of the pediments, the pattern of the ornamentation of the pediment chest and its filling texture using moulded, ornamented bricks is the distinguishing feature of the work of Qajar period architects.

École des Beaux-Arts is considered as one of the most influential architecture schools in the world. During its relatively long life, this school admitted many students from different countries, including a number of Iranian architects and professors of architecture who were graduates of the École. The purpose of this study is to identify Iranian architecture students of the École des Beaux-Arts based on reliable documents. The main question of the research is how many Iranian students have studied at École des Beaux-Arts, and how was the quality of their education. Also, in what fields did these people work after graduation. This study tries to refer to the École’s documents to get the answers to the questions. The main sources of the research are primary. Examination of these documents shows that the number of Iranian students was 43, 29 of whom graduated. The presence of Iranians in the school is limited to the last four decades of the school’s life. The presence of Iranians in the 1960s is particularly significant. Iranian students left a relatively successful result in the École. They were able to win a number of medals and awards from the school. After graduating and returning to Iran, most of them held important positions in the field of education and architecture. Most of them became university professors and taught students in Iranian schools of architecture.