@article{ author = {Faghfoori, Robab}, title = {wisdom of Islamic architecture, A Deep analysis to structure and Contents of Luster Altar of Razavi Holy Shrine}, abstract ={Association between form and meaning in Islamic Art and Architecture is a category which is impressible from the cosmological foundations of Islam. The kind that, the relationship between form and content is the same as spirit and body, and the matter is getting its honor from the munificence of meaning. Accordingly, it can be said that the form of the work in Islamic Art is the embodied image of meaning and content, and reflects our beliefs and religious truths. These meanings are rooted in the divine realm and Muslim Artist is capable to provide them with intuition and self-revelation as form and different shapes of Art, and by this act would leads man to the higher dignity of existence, and ultimately to the transcendental unity. Islamic Art, in complete, is the abstract, transcendent, and mysterious art reflecting religious basis. Prayers and traditional rituals in Islamic world are also mysterious embodied in the environment and places of worship. Altar as a worship space in religious monuments has a dual identity. While, it is considered as a worship space to prayer and religious practice, it has an arrays and decorative elements too. So, it would be placed among the sacred arts which come from the theme of spiritual realities, and it has a structure which is predicated to the religious meanings. The present study has followed the structural and conceptual analysis of decorative elements used in the luster altar of Imam Reza Holy shrine and By investigating them not only to discover inserted meaning of them, also pay attention to interpretive statement about the relationship between these elements with religious concepts and ritual meaning on the one hand, and the time and place Identity of the altar, on the other hand. This luster tiles’ altar with over 700 years of antiquity, is consider as one of the fine works and masterpieces of Islamic- Iranian art and architecture. This altar, at 273 × 220 cm, has been made as mezzo-relievo by use of luster tile and in the past, it had been fixed on the Southwest wall of holy shrine before the face of Imam Reza (AS). This valuable work has been made in Kashan at the 612 BC, by Muhammad Ibn Abi Tahir, one of the Shiite’ Artists in Kharazmshahian period. The Altar has three arches and two border around them which has been drawn a line of turquoise tile on the outer margin of it. Every three arches have inscriptive margins. At the first, form and structure of this Altar would be investigated in a descriptive manner and by giving a linear plot of the hidden geometry of it we would briefly introduce the Inscriptions and the themes used in them. In the main part of the study, structure, decorations, and themes raised in the inscriptions would be studied in an analytical, interpretive, and historical manner. In the surveys which have been done, we didn’t find any research that in detail pay attention to this subject. In some cases, the authors of Astan Quds and the holy shrine of Imam Reza (AS) have mentioned this Altar in their history books and some of them have also described it. Scholars of Islamic art like Watson in Persian Luster Ware and Porter in Islamic tiles have also briefly introduced it. The brief result of research reveals that Islamic architecture, especially sacred architecture, is a manifestation of divine beauties and a glowing example of a combination of symbolic forms associated with our deep meanings and beliefs, so we believe that this relationship can be expressed in the deepest mysterious levels of this Altar. Each of the decorative elements used in the sanctuary, Such as colors, arches, paintings, lines and scrolls, pilaster, and Mogharnas, in shape and their structure, reflects spiritual realities and meanings that the Knowledge of them had been possible to a worshiper during the prayer by passing the formal universe to the divine world. These meanings reflected from the divine world, and manifest the concepts such as the presence of God, resurrection, release from Nether world and ascension into the celestial world, twinkle of divine light, transcendental unity, meditation and inner purification. These concepts are very close to prayer and ritual activities. The general structure of the altar with triple arch and salient pilaster reflects the original states of prayer in one hand, and the spatial visualization of prostration on the other hand. Consecration of the Holy shrine to the Word of God, to induce discipline and unity of existence, inward focus and spiritual stability, constant repetition and remembrance of God into the heart of the prayers are considered as a most important function of structure, motifs and inscriptions engraved on the altar. These elements by creating the beauty, order and unity are able to influence on the spirit of worshiper and bring to him the Coordinate space for perception of lofty spiritual concepts. explicit beckon to the time of daily prayers in the outermost edge of the Altar, change the kiblah direction, Authentic hadith mentioned in the dignity and greatness of Imam Reza, the message of peace and victory for the Muslims, Humility in prayer, emphasizing the superiority of Islam are the themes raised in the inscriptions of the altar and mostly shows Shiite tendencies. Finally, It can be said that the choice of text and decorations have been done in proportion to the identity of Altar and location of it in the shrine of Imam Reza (AS), Social and religious conditions of early seventh century AH and boost the morale of Shiite minority against the constraints and possible problems. In simple terms, they are affected by the cultural, religious and doctrinal conditions of its period of emergence. In addition, we can achieve the unique comparative fit between contents of Inscriptions and decorative elements of the altar. As if here, designs are the visual translation of the texts, and Heavenly and divine meanings of each one indicates to empathy between scripts and motifs in the realization of an Islamic fine work.}, Keywords = {Luster tiles Altar,Imam Reza’s shrine architecture,form and meaning,Islamic architectural decorations}, volume = {4}, Number = {1}, pages = {7-15}, publisher = {Tarbiat Modares University}, url = {http://bsnt.modares.ac.ir/article-2-2157-en.html}, eprint = {http://bsnt.modares.ac.ir/article-2-2157-en.pdf}, journal = {Naqshejahan- Basic studies and New Technologies of Architecture and Planning}, issn = {2322-4991}, eissn = {2538-2594}, year = {2014} } @article{ author = {KalantariKhalilabad, Hossein and Haghi, Mahdi and Dadkhah, Mohse}, title = {Social Components of Islamic-Iranian Urban Planning Pattern}, abstract ={Targeting followed by pattern making and planning to reach to goals is a necessity in all societies. Urban planning, as a subject expressing interactions between mankind, culture, living style and environment, plays an important role in reaching to the Islamic society goals along with keeping the original identity and promoting the culture and ethics, and consequently is very important in preparing a local model based on the Islamic teachings appropriate to the Islamic-Iranian context. Islam has paid special attention to social issues; just do not discuss individual aspects only. Way to achieve prosperity has been the establishment of an Islamic community and Change and growth, resulting in a society where people of all decisions and activities have been. In the Quran, Allah does not change the destiny of any nation unless they themselves. Issues such as community participation, social justice and components - such as these are placed on the social dimension of the Quran and hadiths emphasize. On the other hand Iran has long ago been important social issues and it has Construction of public buildings in the city and had a significant role. In this paper, after reviewing the literature about the social aspects of urban planning, we explained the social components of Islamic-Iranian urban planning pattern of progress. Accordingly, factors like security, social justice, health, neighborhood etc. were introduced as the important elements in social considerations of Islamic-Iranian urban planning pattern, based on Islamic teachings and Islamic-Iranian urban planning history and background .Each of the components of the urban social Iran - Islamic has a different degree of importance,some components may all components in its place and Or even creator them to be. The components and their corresponding degree of importance based on Islamic perspectives are examined. The social concepts such as privacy, health, social justice, security, peace and tranquility and also emphasized the teachings of Islam and the Islamic Republic of Iran has been in the planning And can serve as guides and tips for Islamic and Iranian urban spaces, enhanced quality of life, increased social interaction, participation of residents in the neighborhood, social justice and economic prosperity can be used. Create a semantic framework that is based on the principles expressed in the social body based on the ideas of God and to lead. Therefore, the physical space of architecture and urbanism in shaping the framework and components manufacturer must identify and examine their relationships and to build on the structure of the physical space of cities. Urban planning, urban design, architecture and industrial design matters and social climate will affect the Iranian Islamic cities. These components are not only social prosperity,social equity,increase physical qualities, enhancing the sense of belonging to the environment, but also contribute to the increased value of land, recreating the old quarters of cities and economic issues influence is remarkable.Urban pattern recognition component of Islamic and Iranian decision-makers and decision-makers, the public,and what to get rid of the confusion of spiritual and material life of man,it is important to define it.}, Keywords = {Islamic-Iranian Urban Planning Pattern,Social Components,Urbanism,Contemporary Architecture,Sustainability}, volume = {4}, Number = {1}, pages = {17-26}, publisher = {Tarbiat Modares University}, url = {http://bsnt.modares.ac.ir/article-2-10096-en.html}, eprint = {http://bsnt.modares.ac.ir/article-2-10096-en.pdf}, journal = {Naqshejahan- Basic studies and New Technologies of Architecture and Planning}, issn = {2322-4991}, eissn = {2538-2594}, year = {2014} } @article{ author = {}, title = {Regeneration of the Persian Garden’s design concepts system in the Iranian-Islamic Garden-city through thematic gardens’ approach}, abstract ={Throughout history, the Persian Garden Concept has provided a dynamic basis for various thoughts and paradigms. It has been acknowledged in shaping the natural and built environment of vast expanded territories from the Persian Empire in the East to the Andalusia culture (Spain) in the West. It has influenced many functional places, and emerged in the forms of Shrine garden, Courtyard gardens, School gardens, and so on. The Persian Garden idea therefore, presents a comprehensive and integrated process and multi-level systems of structure and function i.e. geometrical, spatial, meaning, feeling, space, place, locality, ecosystem and climate, and habitat within specific culture. Such process consequently led to the making a genius loci, and or spirit of place in different situations. Design and Building the Persian garden therefore, should not merely reproducing or imitating its structural form; which seen as a naive view to Persian garden order to a broader extent. It would rather need careful attention of researchers and designers in their investigations. Unfortunately, this ancient architectural prototype has been subject to ignorance in recent decades. And its vital role is forgotten in our modern cities and societies’ life. This in turn has led to the fact that these spaces being turned into the abandoned spaces with no involvement into the people and societies daily life. In some other cases the changes in the gardens’ function may turn them into the museums for leisure and recreation usages. However, historical evidences indicate that there have not been such usages observed for the Persian gardens. Investigation of the Persian Garden concepts and design patterns reveals its total adaptation and full relationship with dynamic urban life as well as contextual parameters, ecosystems and climate conditions. The main question in this research therefore, is how to restore the missing roles and functions of Persian gardens and how it could adjust to the modern cities land use; while maintaining their ecological functions into the greater surrounding ecosystems and structures. This research tries to find solutions for the re-generation of Persian garden philosophy and its applications into modern cities as a new prototype for Iranian-Islamic-Garden-city which will be termed as “Thematic Gardens” idea. The study investigated firstly, the usage of this ancient paradigm beyond its physical and structural entity. It sought for its socio-cultural context with other land-uses in the contemporary cities. The literature review suggested that man-landscape relation has a long history and its roots can be traced in different cultures. Today, it is believed that natural environment can help to reduce stresses for urban societies. Using natural elements like water, trees and plants, wind and sun in design and shaping our environment are seen important in creating balanced and tranquil spaces; and enhancing wellbeing and mental health of people particularly in urban areas. There are arguments on the power of nature and natural elements in eliminating thinking and that people’s negative thought could be turned into positive if they are in close relation with natural atmospheres or attracted to the natural features. The Persian garden paradigm is seen by some researchers as an attempt to shape a symbolic/spiritual man-made space beyond aesthetic and spatial values. They maintain that Persian garden has been made to help in establishing a better and tied man-nature relations. In contrast, some other emphasized on the wise combination of water, plants and building (pavilion). On the other hand, there are agreements over the fact of Persian garden being viewed as a synthesis of Iranian tradition, ideology, culture, needs, function, context and climatic considerations that are put together through a creative design and planning approach. Despite its affordability and functionality in the past, fewer attempts have been made to regenerate genuine Persian garden ideas and design principles, and put their beneficial characters in practice in the modern or contemporary cities’ structure. Some reasons for this are claimed the economic forces and costly land designation, and partly due to the limits on urban land for such usages. Under circumstances, the paper discusses the opportunity of the most derelict land-uses and abandoned urban parks as potential for this purpose. With a new approach to re-create and reproduce essence of Persian garden tradition for modern citizens’ life, and ecological improvement of urban areas this research then, presents the findings on the quality of perception and identification of gardens by viewers, and the sense of place, and its semantic layers in order to take their advantages in designing contemporary urban landscapes and green public open spaces through thematic and conceptual approach. Whereas, the land economic values in cities regarded as one of major challenges to increase the amount of green space per capita especially in metropolitan areas, findings of the research shows that long distance between home and parks, and monotonous dull and repetitive greenery design of the parks make these places less attractive, less functional and meaningless for the people. These shortcomings may be overcome through conceptual and thematic gardens approach based on Persian gardens idea. Evidence from this research show that thematic gardens approach might fulfill the contemporary needs of citizens through their integrated geographical distribution, coping with other land-uses. Other advantages are including: easy access for the residents, help the diversity of the urban green spaces and parks, use of native or local plants, as well as enhancing the local neighborhood identity, and encouraging sustainable and ecological design. Application of the thematic gardens approach may help in turning the current unattractive, less desirable parks into dynamic, livable, viable urban spaces, as well as creating environmentally responsive and functional places that provide a medium for promotion of both society’s basic needs and quality of life. Thematic gardens in city might lead to the improvement of environmental conditions, enhancing cultural values and economic considerations based on neighborhood context and capacity. A variety of examples and themes are given as: the book garden, philosophy garden, culture garden, botanical garden, and recreation garden. Other findings: orientation systems and involvement of senses systems are discussed as two principles in detail. Keywords: Persian garden, Regeneration, thematic garden-city, Iranian-Islamic city.}, Keywords = {Persian garden,Regeneration,thematic garden-city,Iranian-Islamic city}, volume = {4}, Number = {1}, pages = {27-35}, publisher = {Tarbiat Modares University}, url = {http://bsnt.modares.ac.ir/article-2-241-en.html}, eprint = {http://bsnt.modares.ac.ir/article-2-241-en.pdf}, journal = {Naqshejahan- Basic studies and New Technologies of Architecture and Planning}, issn = {2322-4991}, eissn = {2538-2594}, year = {2014} } @article{ author = {ziari, reza and ziari, keramat}, title = {The Comparative Study Of Formation And Spread of Isfahan School And Tehran Style In Urban Space}, abstract ={Abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract Abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract Abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract Abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract abstract Abstract abstract abstract abstract abstract abstract abstract abstract abstract}, Keywords = {Modernism,Isfahan School,Tehran Style,Iranian architecture,urban space}, volume = {4}, Number = {1}, pages = {37-45}, publisher = {Tarbiat Modares University}, url = {http://bsnt.modares.ac.ir/article-2-11136-en.html}, eprint = {http://bsnt.modares.ac.ir/article-2-11136-en.pdf}, journal = {Naqshejahan- Basic studies and New Technologies of Architecture and Planning}, issn = {2322-4991}, eissn = {2538-2594}, year = {2014} } @article{ author = {}, title = {Persian Garden\'s symbolism during Islamic Period and its relation to religious believes}, abstract ={Respect and reverence for water and trees is institutionalized in ancient civilizations of Iran. Iranian people respect trees and water, both separately and in composite forms as gardens, which have been a well-known cultural value both before and after Islam. The oldest Persian garden that have been discovered dates back to the Achaemenid Empire and the quadripartite gardens (charbagh) of Pasargadae. By studying about existent historic gardens, Persian Gardens are divided into different types. The way people use special physical and functional features could also be used as a scale of this division. Values, norms and traditions are amongst the most specific characters of a given culture. These characteristics at any society transmitted from one generation to the other and people get used to them. Therefore, people do not simply accept to change their own cultural attributes and substitute them with those of others. But when two or more societies are close to one another as neighbors; or if not close geographically, in the case of having close economic, social or political ties for a long time, they gradually tend to accept a number of each others' cultural attributes. Here, in this article, Persian culture has been selected before and after Islam and its influences have been studied through the Persian Garden symbolism.The, ancient Iranians had a lot of respect and admiration for natural waters and trees, alone or together, as one of their greatest cultural values in pre or post Islamic periods. In ancient civilization of Iran, plants have had special position. Life-giving, young giving, productivity and Immortality are some supernatural powers that had been in some trees and made, they have been sacred for Ancient Iranian people. In addition, some plants were important because they were Herbaceous Gods and some others were sacred because their usage in religious ceremony. Some trees such as Platanus, Cedar, Grapevine and Pomegranate were symbolic and sometimes they were been holy and life given. However, attending to supernatural power of plants, was been because of people have regarded to plants. This regarding to plants has caused some symbols such as “Life Tree” created. After Islam, ‘Heaven’ became an important concept that made a big change to the Persian garden. Many heavenly features highlighted by the Quran – such as greenery, freshness and immortality, walls, doors and the emphasis on centricity – were all used to make the Persian garden design successfully combine artificiality with naturalness. The oldest Persian garden so far found dates back to the Achaemenid Empire (550-300 B.C.) and the Pasargadae quadrants, both indicating the antiquity of garden-designing in Iran. The innovations of this were copied widely and with more complexity, in all subsequent Persian and Islamic gardens being clearly evident during the Sassanid Dynasty (224-651 AD) and later in Islamic period.By studying about existent historic gardens, Persian Gardens are divided into different types. The way people use special physical and functional features could also be used as a scale of this division. In the fifteenth century, the Safavids converted to Shi’ism and established Shi’a (The second largest denomination of Islam, after Sunni Islam) as the official religion of their empire. The Islamic concept of the Ideal City, formed according to the Garden of Eden, was taken into consideration in the Safavid period. Gardens as parables of Heaven were often used as composing elements in urban design. This idea resulted in the formation of a powerful method of city planning that drew its conclusions from Shi’a ideology about the human place in the physical world and the Islamic concept of the Ideal City. Urban designers used the ideas of Heaven in small and large-scale gardens and used heavenly features as composition elements to create the city. Thus, the city was formed as an image of Heaven. It was a suitable place for people as surrogates of God in the world. Persian garden always have had relation to the religious believes. In this paper the subject has researched in Persian gardens symbols. Therefore, focusing on the symbols, their types and also their presence in Persian garden is under our study. According to the relationship between holiness of garden and gardening with religious believes, this subject has been studied during two separated sections, before and after Islam. However, the emphasis is on the Islamic Period. It seems Iranian gardener artist during different historical periods, tried increasing the relationship between human, nature and function. They used symbols to reinforce the implication of place thus; incoming of Islam can be the reference point by this vision. Islam incoming in Iran and other parts of the world included some message as equality of humans, thought liberty etc. These messages have accepted by stratum and impress societies of that period. Moslem artists created great revelution in art, architecture and gardening by this new ideology. This subject could be studied from two visions of how and purpose of symbols usage. This subject will review in some sections of this paper. Traditional artists have been tried by using symbolic language; speak about physical and metaphysical concepts. In addition, gardener artists have used that language in design process. Therefore, they have used some natural and artificial elements and numberic symbols in physical and spatial structure design that was related with their religious believes.Thus this topic with emphasise on Islamic Persian Garden have studied in this article. The symbols, which have used in Islamic Persian Garden, could be studied in two general sections of generic and specific symbols. As main elements, Generic symbols have been created the identity and fabric of Persian garden before and after Islam. However, specific symbols have definded by religious belives of people who made them and therefore have used in different types during various times. The results help, to introduce and to preserve the physical and structural symbols of garden design in Islamic Period in Iran. In this paper, analytical descriptive research method has been used and the data were collected by library research and Field Studies.}, Keywords = {key words}, volume = {4}, Number = {1}, pages = {47-55}, publisher = {Tarbiat Modares University}, url = {http://bsnt.modares.ac.ir/article-2-820-en.html}, eprint = {http://bsnt.modares.ac.ir/article-2-820-en.pdf}, journal = {Naqshejahan- Basic studies and New Technologies of Architecture and Planning}, issn = {2322-4991}, eissn = {2538-2594}, year = {2014} } @article{ author = {soleimanisheijani, zeinab}, title = {A Review on the principles and objectives of contemporary architecture in Iran from Mulla Sadra\'s point of view}, abstract ={Paying little attention to the identity of Iranian architecture is one of the problems of contemporary architecture of Iran which has caused the absence of a precise definition of Identifying criteria in contemporary architecture of Iran; so that diversity of selected views is one of the main features of this architecture. Perhaps it can be said that many Iranian architects design without codified principles and even without theoretical knowledge and precise understanding of mental concepts in different styles. However, the lack of attention to values of Iranian traditional architecture is followed by eclecticism crisis in contemporary architecture. The questions raised in this context is whether a new definition of architecture can be given by examining the thoughts and opinions of Iranian philosophers like Mulla Sadra gave a new definition of architecture and whether according to their theories outlined principles Can be codified for contemporary architecture? The general approach in this research which intends to paraphrase the ideas of Mulla Sadra in contemporary architecture is Interpretative - historical and descriptive. The research data are derived mainly through observation and documentary studies. The results indicate that by using Mulla Sadra's definitions of being (al-wujud) and essence (mahiyyat) we can have a new defined view at architecture. As Sadra considers all phenomena in two dimensions, architecture also has both being and essence aspects. The essence of architecture responds to material needs and its being is a truth which architecture maintains and brings it to presence. Indeed, the Physics of architecture is the essence of architecture (mahiyyat) and the valuable concepts underlying the architectural Physics are the being of architecture (al-wujud). Considering Mulla Sadra's primary of being (asalat al-wujud) we can conclude that there is also primary of being in architecture. Of course this does not mean that the architect who cares about the being of architecture pays no attention to the essence of architecture. It means that the architect who cares about the being of architecture tries to discover and understand the being of traditional architecture and to present it in a new body which is appropriate for today's architecture. Therefore by regarding the Principles of Mulla Sadra's thought and practice used to achieve the roots of his philosophy, principles can be formulated for architectural design. The principles are formed in order to achieve the lofty goal of traditional Iranian architecture and they attend guide and direct the audience attention toward the pure being (God). Using concepts as inspiration and metaphor and manifestation of the light can be useful to achieve this goal. These concepts are the essential to make the basis clear for contemporary architecture and shows that we can achieve our goals for contemporary architecture of Iran in the same way that Mulla Sadra was able to resurrect the underlying concepts of traditional philosophy. From the perspective of al- wujud ontology, the first target of architecture is to show the truth of being essences; to show the being within the essences without them there is no sense of architecture. If we consider the context of architecture as an activity consisting of a combination of emotion and symbolic meanings, according to Mulla Sadra's method, architecture must accommodate itself to life as a significant whole. In this case the main task for architects will be to shape living spaces and to create necessary content for human presence (al-hozur) and to provide features for human identification. So there is no doubt that one of the main goals for architecture is to create the perfect place and to promote the human presence (al-hozur). Architecture is the genuine sense of human presence (al-hozur), and it may be understood by the human presence (al-hozur). Creation of art is a kind of creation that its nature is extracted from god. According to Mulla Sadra's principles, man unites with his artwork and then the truth would emerge. Architecture is a part of the whole art that tends to reveal the being (al-wojud). From the perspective of being and essence (al-mahiyyat) architecture itself is consisted from two sides; one side is being and the other is essence. And the perception of its essence is possible because of its being: but the being of architecture obtains its existence from the creator and so architecture is always in compliance with its creator's rank of being (mrateb al-wojud). In this theory the origin of architecture is the being of architecture (al-wojud) and the essence of architecture (al-mahiyyat) is manifested through its being. If the architect is higher in the rank of being his designs will also be higher and more spiritual. Therefore as mentioned, there is no doubt that one of the main goals for architecture is to create the perfect place and to promote the human presence (al-hozur). To improve the rank of human being by the effect of space is among the most sublime objectives of architecture. According to al-wojud Philosophy and Mulla Sadra, when an architect designs the different parts and details of a building it is necessary to emphasize the overall structure of notion and so the overall structure of space and of the geometry which is known as the architecture generator. The two mentioned elements are such abstractions in architecture and to emphasize them is to help us accept the concepts and principles of the being (al-wojud) for the prospective architecture considering the variables that influence it. This structure is basically a coded architecture. Since al-hikmat al-mota'alie is based on alhikmat al-eshragh and in alhikmat al-eshragh god or al-wajeb al-wojud is equal to the absolute light, therefore the light manifested in architecture, is an allegory of al-wajeb al-wojud or god. The sublime architecture upgrades man to the level of meaning and wisdom and leads him toward the perception of al-wajeb al-wojud. Architecture answers to this character of perception by metaphor. According to Sadra's point of view Subscription between the human spirit and architecture is required so that the presence of pure meaning in human perception is based on the human presence (al-hozur) itself.}, Keywords = {alhikmat almota'alie,being of architecture,essence of architecture,the unity of being(vahdat al-wujud),the primary of being(asalat al-wujud)}, volume = {4}, Number = {1}, pages = {57-64}, publisher = {Tarbiat Modares University}, url = {http://bsnt.modares.ac.ir/article-2-4659-en.html}, eprint = {http://bsnt.modares.ac.ir/article-2-4659-en.pdf}, journal = {Naqshejahan- Basic studies and New Technologies of Architecture and Planning}, issn = {2322-4991}, eissn = {2538-2594}, year = {2014} } @article{ author = {Rahbarnia, zahra and Rouzbahani, Roy}, title = {Manifestation of Khorrah Light [the Divine Light/Illumination] in the Iranian-Islamic Architecture from Artistic and Mystic Aspects With an Emphasis on the Ideas of Sheykh Shahab ad-Din Suhrawardi}, abstract ={Sheykh Shahāb ad-Dīn Suhrawardī, as one of the great Moslem philosophers and theologian, founded his philosophy upon the doctrine of Illuminationism. His theories and teachings have deeply influenced the beliefs and performances of the Iranian artists. In view of this, the present research aims at investigating Suhravardī’s understanding of Illuminationism and hierarchy of lights. It also tries to trace manifestations of the khorrah light (or the Divine Light), which was of utmost significance in Suhravardī’s doctrine of Illuminationism, in the art of architecture. Finally, it is tried to answer the question “Which elements signify the manifestation of the Light - as conceived of in the Illuminationist Philosophy – in the Iranian-Islamic architecture?” Sheykh of Ishrāq [Suhrawardī] called God ‘the Light of All Lights’ [Nūr-ul-Anwār] and believed that the heaven and earth are made of God’s light; and all beings enjoy His light in proportion to their closeness to His light. He also believed that the light as existing at the stages of sense and matter is inferior to the light that exists in the more exalted stages. That is to say, the closer one gets to the Source of Light - ‘the Light of All Lights’ [Nūr-ul-Anwār] – the purer and brighter the light they get will be. Therefore, separation from the matter translates into moving and getting elevated toward the Source of Being and the Light of Existence and avoiding the lowest levels of existence and shadows. Furthermore, there is an eternal tie between art and philosophy/wisdom. The reason is that they are both perceived intuitively and expressed enigmatically. Therefore, it is through meditation and self-discipline that an artist may attain at that angel-like insight, which is the source of all celestial arts. Such works of arts are the fruits of an artist’s quest in the spiritual world and intuitive perception of the truths there. Like the Divine Knowledge and the doctrine of Illuminationism, the traditional art is expressed in the language of enigma, the very characteristic feature that enables it to establish an association between the most far-fetched inward concepts and the most superficial level of the existence in the outward world. From the above perspective, light is considered the symbol of existence in the sphere of the Islamic Architecture; and due to the fact that the mosque, regarded as the heart of the Islamic Architecture, is where all the secrets and mysteries of this architecture is manifested, the present article deals with the symbols of light in the architecture of mosques. The doctrine of Illuminationism propagated by Suhrawardī and other Illuminationist philosophers has influenced the Iranian culture and art (particularly, during the Timurid and Safavid rules, when Sheykh ‘s ideas were in their heyday). As one can obviously see in their works, Iranian architects had a spiritual approach toward light, like the Illuminationist philosophers of their homeland did. Manifestation of the Divine Light in the form of words of Azān [the Call for Prayers] from minarets, provision of light through envisaging lamps in the epicenter of mihrabs (i.e., the mishkāt), installation of Koranic tablets containing verses from the Nūr Chapter, and the arch-shaped mihrabs and the muqarnases therein…, they all appear to be the incarnation of lights, which symbolize the stage on which the Divine Lights shine. Application of ‘shamsehs’, the arrangement of skylights on the domes, the muqarnases that absorb the light and diffuse it delicately, the latticed windows that let pass the light, the reflection of the light in the bright enameled tiles, continuous vaults, and the colorful glasses, which signify the unity in diversity with their harmonious colors functioning as a medium of transmitting the light, and presence of yellow and gold colors symbolizing the Light of All Lights [Nūr-ul-Anwār] in the terrestrial world…, they all substantiate the fact that the Iranian architects had an Illuniationist viewpoint and practiced under the influence of that doctrine Because the Iranian Architecture is all about light and illumination. The survival of everything hinges upon light. For the purpose of this research, data and information were collected through documentation, the research was conducted on a descriptive basis, and the analysis was made in an analytical fashion. Based on the results obtained, no symbol or manifestation compares to the light in terms of its affinity and propinquity with the Divine Unity. For the same reason, the Muslim Iranian architects have tried their best to use light in whatever they created. Elements like the minarets, mihrabs, muqarnas [corbels], tiles, continuous vaults, colorful glass, and conspicuous presence of yellow and gold colors are all symbols of the Light of All Lights [Nūr-ul-Anwār]. In like manner, the concept of ‘Khorrah’ or the Divine Light has manifested itself in architecture through ‘Shamseh’ and application of latticed surfaces like luminous halos under the domes in the Iranian-Islamic architecture. Therefore, the role of light in the Islamic architecture is to symbolize the Principle of [divine] Manifestation. The utmost function of the elements applied in the architecture is manifestation of God; that is, ‘the Light, and the manifestation of the Ubiquitous Light of the firmaments and the earth, that is, the Only True Being. That is why the Iranian architects would try their best to use the element of light in whatever they created. One of the fundamental notions in Iranian’s Doctrine of Illuminationism on which Suhrawardī placed primary emphasis, is the notion of ‘Khorrah’. ‘Khorrah’ signifies observation of the Divine Lights by the spiritual wayfarers [sālek] in course of their spiritual journey. In the traditional art of Persian miniature, khorrah was is delineated as a halo around the heads of the characters. In architecture, the same has been demonstrated in the form of ‘Shamseh’. The circular layout of the skylights under the domes and the way light enters through the latticed windows clearly conjure up the image of a luminary halo in an emphatic mode. Manifestation of the khorrah light in the form of shamsehs and the skylights of the mosque domes can be regarded as another significant finding of this study.}, Keywords = {Shahāb ad-Dīn Suhrawardī,Khorrah Light,Architecture elements,Islamic,Iranian}, volume = {4}, Number = {1}, pages = {65-74}, publisher = {Tarbiat Modares University}, url = {http://bsnt.modares.ac.ir/article-2-3960-en.html}, eprint = {http://bsnt.modares.ac.ir/article-2-3960-en.pdf}, journal = {Naqshejahan- Basic studies and New Technologies of Architecture and Planning}, issn = {2322-4991}, eissn = {2538-2594}, year = {2014} } @article{ author = {bemanian, mohammadreza and mohammadi, sahar}, title = {A Study on the Role of Dome in the Design Patterns of Contemporary Mosques}, abstract ={}, Keywords = {}, volume = {4}, Number = {3}, pages = {7-16}, publisher = {Tarbiat Modares University}, url = {http://bsnt.modares.ac.ir/article-2-9276-en.html}, eprint = {http://bsnt.modares.ac.ir/article-2-9276-en.pdf}, journal = {Naqshejahan- Basic studies and New Technologies of Architecture and Planning}, issn = {2322-4991}, eissn = {2538-2594}, year = {2014} } @article{ author = {salehi, saeed and naghizageh, mohammad and habib, farah}, title = {Explaining the Priority of Place to Behavior Based on Existentialist Analysis of Islamic-Iranian Architecture}, abstract ={}, Keywords = {}, volume = {4}, Number = {3}, pages = {17-26}, publisher = {Tarbiat Modares University}, url = {http://bsnt.modares.ac.ir/article-2-3299-en.html}, eprint = {http://bsnt.modares.ac.ir/article-2-3299-en.pdf}, journal = {Naqshejahan- Basic studies and New Technologies of Architecture and Planning}, issn = {2322-4991}, eissn = {2538-2594}, year = {2014} } @article{ author = {siadatian, seyedreza and pourjafar, mohammadrez}, title = {Testing the Application of "Justified Plan Graph"(JPG) in Iranian-Islamic Architecture Case Studies: Rasoolian House in Yazd and a House in Masooleh}, abstract ={}, Keywords = {}, volume = {4}, Number = {3}, pages = {27-39}, publisher = {Tarbiat Modares University}, url = {http://bsnt.modares.ac.ir/article-2-4527-en.html}, eprint = {http://bsnt.modares.ac.ir/article-2-4527-en.pdf}, journal = {Naqshejahan- Basic studies and New Technologies of Architecture and Planning}, issn = {2322-4991}, eissn = {2538-2594}, year = {2014} } @article{ author = {haghparast, farzin and mazlomborhan, shabnam and pirbabaii, hamzeh}, title = {Mutual Impact of the Religious Music and Architecture of Qajar Era in the Evolution of the Islamic Collective Spaces, Case Study: Tehran Tekyeh Dowlat}, abstract ={}, Keywords = {}, volume = {4}, Number = {3}, pages = {43-50}, publisher = {Tarbiat Modares University}, url = {http://bsnt.modares.ac.ir/article-2-6806-en.html}, eprint = {http://bsnt.modares.ac.ir/article-2-6806-en.pdf}, journal = {Naqshejahan- Basic studies and New Technologies of Architecture and Planning}, issn = {2322-4991}, eissn = {2538-2594}, year = {2014} } @article{ author = {sadeghpour, mohammadsadegh and fahimifar, asghar and bayat, zeinab}, title = {Authentic Dwelling: From Heidegger Reading to Safavid Isfahan: A Study of Isfhan Garden-City in Safavid Era}, abstract ={}, Keywords = {}, volume = {4}, Number = {3}, pages = {51-61}, publisher = {Tarbiat Modares University}, url = {http://bsnt.modares.ac.ir/article-2-2124-en.html}, eprint = {http://bsnt.modares.ac.ir/article-2-2124-en.pdf}, journal = {Naqshejahan- Basic studies and New Technologies of Architecture and Planning}, issn = {2322-4991}, eissn = {2538-2594}, year = {2014} } @article{ author = {hosseini, akram and mohammadzadeh, akram}, title = {An analytical Review for Usage of Persian Garden Pattern as Urban Public Space A Mechanism for Reviving the Persian Garden Using Analytic Hierarchy Process (AHP) Technique}, abstract ={}, Keywords = {}, volume = {4}, Number = {3}, pages = {63-73}, publisher = {Tarbiat Modares University}, url = {http://bsnt.modares.ac.ir/article-2-7356-en.html}, eprint = {http://bsnt.modares.ac.ir/article-2-7356-en.pdf}, journal = {Naqshejahan- Basic studies and New Technologies of Architecture and Planning}, issn = {2322-4991}, eissn = {2538-2594}, year = {2014} } @article{ author = {momeni, korosh and atarian, korosh and mosavi, is}, title = {Recognition of Islamic Architectural Features in Criack Village,Sisakht}, abstract ={}, Keywords = {}, volume = {4}, Number = {3}, pages = {75-84}, publisher = {Tarbiat Modares University}, url = {http://bsnt.modares.ac.ir/article-2-2322-en.html}, eprint = {http://bsnt.modares.ac.ir/article-2-2322-en.pdf}, journal = {Naqshejahan- Basic studies and New Technologies of Architecture and Planning}, issn = {2322-4991}, eissn = {2538-2594}, year = {2014} } @article{ author = {}, title = {}, abstract ={}, Keywords = {}, volume = {4}, Number = {2}, pages = {0-0}, publisher = {Tarbiat Modares University}, url = {http://bsnt.modares.ac.ir/article-2-30706-en.html}, eprint = {http://bsnt.modares.ac.ir/article-2-30706-en.pdf}, journal = {Naqshejahan- Basic studies and New Technologies of Architecture and Planning}, issn = {2322-4991}, eissn = {2538-2594}, year = {2014} } @article{ author = {shayan, hamidreza and memardezfuli, saj}, title = {Comparative Review of Contemporary Iranian Architecture Tendencies (Recognition Designing Theories of Three Generations Architects)}, abstract ={By Looking at Iranian Contemporary Architecture and it's different generations It can be found that there are examples of excellence in architecture which Can be based on the characteristics and components of the Architectural Review, They to a specific stream architecture in Iran and Independent of the architectural approaches of the West, as an affiliate. This research is based on case studies, it followed up with an analysis of the signs and current thoughts available in the text architecture, to identify trends and approaches in contemporary architecture generations and answer to the question whether there is significant sequence in the concepts used by architects at different periods? It is assumed that the defining trends of Iranian contemporary Iranian architects from Iranian modernism to nationalist tendencies, Revitalization or classical market, while It can also work in conjunction with the value and importance of the historical context of the assessment, Explaining the origins and reliable indicators, Makes the flow of existing theoretical on Iranian history of contemporary architecture be recognized. Defining the correct position of Iranian Islamic architecture in the post modern world elicits various points of view. The increasing importance of literature related to linguistic philosophy, post-constructivism, cultural relativism, and the end of ideology has instigated a sort of mental inflammation in the community of Iranian architects. A pragmatism abstracted from the environment is one of the trends that have developed in this respect. Based on results of a comparative analysis of three generations of Iranian contemporary architects work, Also, according to the authors describe, It follows that the theory of contemporary architecture in Iran, Within four specific categories, such as The giver ideas, Aesthetic style references, Selection Form and types of materials can be explained. The analysis of these four components in architecture works explains that the giver ideas of posit has been followed with more persistent in the pursuit of different generations and over time in comparison to the other components has less changes. This perception can underline the existence of a common discourse between color, smell and Iranian structure that can be the missing detail of the Iranian contemporary architecture. Throw a glance at current Iranian architecture and its generation, it is realized that there are some preferable samples in this period which could be referred as a special stream in Iranian architecture and in depended from west approaches, based on the type of characteristics and architectural criticize components. Iranian current architecture is one of areas that has not been studied exactly and by analyzing works and current stream and it is especially referable. It is realized from rapid and also extreme changing of Iranian architecture that the trend to classical architecture has been changed in different situation. These rapid changes have been happened due to modernizing and mechanism that could be considered as modern period effects. Iranian challenges with contemporarily, in recent two centuries, was expanded in governmental and intellectual parties. In this era, extreme changes was happened in the most areas including architecture and provide different approaches and simultaneously some intent to classical thinking. This research, based on case study approach, followed analyzing the signs and streams of consciousness in architectures work contexts, to realize the approaches of current generation of architecture and also find the answer for a question about finding a reputable track record in the used concepts with architects depending their different periods. It is assumed that, specifying the definition of Iranian current architect’s trend, like Iranian modernism, nationalism, renovate or classical popular approaches, helps to recognize theoretical stream of current Iranian architecture with realizing and specifying roots and valuable indicators, and furthermore can assess the importance and worthiness of each work. Reviewing current Iranian architecture shows, in spite of various generations, the main concepts have not any diversity and its evaluation will be realized and performed with improvement of these concepts. Anyway, because of this subject that the attention to current Iranian architecture for finding a reliable classification, needs reviewing basic concepts like methodologies, forms and architectural studies, as the basis of the effective items like design ideas, design locations and frame works, design themes, spatial concepts, visual shapes and the used material, therefore we have to realize the hide vision of these three generations of architecture, considering right viewpoint, to provide a statement for classifying or finding a similar theme between Iranian and current world architecture. Based on the results of comparative analysis of three generation of Iranian architectural works, and also regarding the clear-sighted authors description, it seems that, the stream of theory in Iranian current architecture could be realized as a framework by four specific categories including structural giver ideas, stylistics refers, form selecting and type of materials. Analyzing these four categories in architectural works shows that the structural giver ideas have been followed by different generation with more persistent and have the minor changes than other categories during this era. This perception discovers a common thought in Iranian current architecture that can be the missed stream of it. The trends and ideas underlying a design are the main concepts on which the main design of a work of architecture is based on. Conceptually, the structural idea of a design is the main definition that architecture is based upon and in some literature, it is even viewed as a concept. Based on evaluation and analysis of the frameworks of the prominent works of Iranian architecture of three generations, mainly after the Islamic Revolution, structural ideas of architectural designs and the product of prominent Iranian works of architecture is a mélange of international and regional intellectual currents, the leading culture of the designs as they relate to their era and social, political,cultural and economical interactions. Furthermore, a deep review of contemporary architecture in Iran after Islamic reveloution, points out a lack of familiarity with main universal contemporary architectural theory, which is the main reason behind the architects, designers, professors and researchers of architecture, and most importantly, those who enjoy architecture.}, Keywords = {Iran Contemporary Architecture,Tendency,Approach,Style,structure}, volume = {4}, Number = {2}, pages = {1-10}, publisher = {Tarbiat Modares University}, url = {http://bsnt.modares.ac.ir/article-2-6913-en.html}, eprint = {http://bsnt.modares.ac.ir/article-2-6913-en.pdf}, journal = {Naqshejahan- Basic studies and New Technologies of Architecture and Planning}, issn = {2322-4991}, eissn = {2538-2594}, year = {2014} } @article{ author = {ansarimanesh, maryam and nasrolahi, nazani}, title = {Determination of occupant\'s thermal comfort zone to maximize the quality of indoor environment in office buildings of Kermanshah}, abstract ={The increase in energy consumption within modern societies in addition to expiration of fossil resources are two vital factors which compel the world to alter dangerously, while construction industry around the world consumes 25%-40% of energy in different countries. Above all postindustrial era causes the increase in number of employees as well as bureaus. As a result, the amount of energy consumption and also the quality of indoor offices has always been one of the main concerns of architects. Several studies represent that the thermal discomfort is the most common complaint in offices. The thermal aspect of indoor buildings, not only provides comfort for the residents, but also brings saving in energy, health, productivity, and also a significant morale improvement of the staff. Since most complaints of indoor environment are caused by failure in providing the adequate thermal comfort, researches concentrated on several offices around the world suggest that indoor quality of such buildings is about average; in which many are dissatisfied about their workplace and while many are suffering from building-related illnesses that negatively affect the productivity, duration of working and having economic consequences for those countries. The requisite of thermal comfort within the indoor environment is the existence of thermal comfort standards. These standards define indoor thermal comfort zone according to the physical and personal indexes. The most important international standards are ISO7730 and ASHRAE 55. Nowadays, various models are introduced for appraising thermal comfort within different standards of thermal comfort. According to ASHRAE Standard 55 (2010) thermal comfort is defined as "condition of mind that expresses satisfaction with the thermal environment". Therefore thermal comfort contains different physical and psychological aspects, which means several factors are in effect for this purpose. Thermal comfort is related to four controllable factors namely air temperature, radiant temperature, air speed and as well as humidity. thermal comfort also is influenced by three additional factors: activity, clothing and personal expectations. As mentioned above, there are several standards for thermal comfort in the world. The most important ones are international standards ASHRAE 55 (North America) and ISO 7730 (Europe). These standards congruous the theoretical analysis of heat exchange of the human body and gathering information regarding the climate chamber. These standards are appropriate for stationary and homogeneous conditions which are not suitable and hence not much used in the real world. This fact is evident by the disparity between the predicted thermal comfort by these standards and the real sense of human comfort in different places. These standards specify comfort zones in which a large percentage of people perceive the environment thermally acceptable by certain personal criteria. According to these standards, acceptable thermal zone is defined based on satisfaction of at least 80% of the occupants. In other words, performing within the provided criterion of this standard does not mean the 100% satisfaction, as if it is difficult to satisfy everybody due to personal differences. It is to be mentioned that personal control of thermal environment or personal compatibility (by clothing or activity) also increases the satisfaction level. Considering the complexities of defining thermal comfort, several models are represented which are allied to the physical and psychological parameters as the physiological ones. Two forthcoming models are available for appraisal of thermal comfort: PMV model; which explains individuals' response to the thermal comfort in the physiology of the heat transfer. This model evaluates the indoor environments and constitutes the current thermal comfort standards. According to the aforementioned standards, environmental thermal conditions must be maintained homogeneously. Therefore, PMV model is not appropriate for appraising inert thermal sense in places like residential buildings which are not thermally homogeneous and have different thermal zones. However regarding several capacities of this model, many studies have been accomplished in order to adjust this model for such buildings by implementing some changes. The other model named 'adaptive' explains individuals' response to the thermal comfort considering behavioral, psychological and physiological aspects. The thermal comfort standards define the thermal environment conditions of residents based on data obtained by climate chamber experiments. Therefore, consequently, there are problems for using these standards and also thermal comfort models for those who are living in different climates. That is to say regions with different climatic conditions may need different levels of satisfaction parameters through these standards. In other words, due to different climates, cultures, and etc.,the thermal satisfaction conditions differ in different places. Hence, many countries all over the world have conducted field studies to introduce the most favorable thermal conditions that fit their location best. The lack of essential standards for determination of thermal satisfaction limits in office buildings in Iran, results in employees’ thermal dissatisfaction and overall performance reduction. This study uses field methods for measuring environmental variables (temperature and humidity) and also leading inventory (n=328). Kermanshah city is chosen as a case study. Since this city lacks a dominant type of office buildings and the only common aspect of such buildings is indoor offices, thus this feature is considered to choose the samples. To develop the questionnaire, that of ASHRAE 55 (2010) is used, however according to type of the research and the questions cover, some related questions are added. Moreover, answers are adjusted in seven scales in order to be analyzable using available scales of thermal comfort standards such as 7-point scale of ASHRAE. According to results, 81.7% of whole 328 respondents and 65.5% are satisfiedwithtemperature and humidity respectively. Adapting these results to ASHRAE 55, it is concluded that most staff are satisfied in their work place however the results are the opposite about the humidity. To determine suitable range of temperature and relative humidity in order to define comfort zone in offices in Kermanshah, measured data using FLUKE AIR METER are opposed to the results about temperature and humidity (questionnaire). Data analysis using SPSS represents that neutral temperature range through offices in this city is 20-26 centigrade and low relative humidity is about 19%.}, Keywords = {thermal comfort, office building, indoor enviromental quality, appropriate temptature and relative humidity range.}, volume = {4}, Number = {2}, pages = {11-21}, publisher = {Tarbiat Modares University}, url = {http://bsnt.modares.ac.ir/article-2-29326-en.html}, eprint = {http://bsnt.modares.ac.ir/article-2-29326-en.pdf}, journal = {Naqshejahan- Basic studies and New Technologies of Architecture and Planning}, issn = {2322-4991}, eissn = {2538-2594}, year = {2014} } @article{ author = {dabagh, amir masod and mokhtabadamrei, seyed mostaf}, title = {Reading the architecture of contemporary mosques in Tehran with semiotics approach}, abstract ={The design of mosques in the Islamic countries has brought the recent designers with two key challenges. That is, the ideas and concepts regarding the tradition of Islam on the one hand, and the postmodern ideas of the global village on the other hand attract the design to themselves. Semiotics is a discipline that reads the texts to recognize and semanticize the signs of the texts. Architectural semiotics is a sub-discipline of art semiotics and therefore has a dependent representation. Considering the theoretical concepts of architecture, and along the linguistic and semiotic theories, it is required to develop and reproduce architectural semiotics. For this purpose, we introduced the linguistic concepts and theories of the semioticians, and then provided a model for semiotic reading of architectural works as spatial texts that are formed from diverse layers. These layers, which are classified into process and system layers, form the architectural text by their interrelation. The ideas about function, economic issues, time, aesthetic concepts, socio-cultural issues, and hermeneutic concepts form the system layers, and the issues regarding training, experience, subject, employer, and architect's attitude form the process layers of an architectural work. The semiotic reading of architecture aims to reproduce the design based on the relations existing between these layers and the impression of the addressee. In this paper, a model of architectural semiotics has been developed and introduced by the study of the theories of semioticians and based on the theoretical fundamentals of architecture. This model has been employed and tested for the reading of three contemporary mosques of Tehran (mosques of Tehran University, Tarbiat Modares University, and al-Ghadir Mosque in Mirdamad Street). The reading of the contemporary mosques can be used for the study of the concepts of Islamic tradition and its relation to the today's world. The reading of these experiences teaches the today's designers how to behave with the valuable principles of Islam tradition and its reflection in the recent era. Today, there are different theories on the formation and reading of architectural products. Such theories have been derived from human science in the past three decades. For instance, the ideas of Derrida can be traced in the ideas and designs of Eisenman, the philosophy of Heidegger has been reflected in the notions of Norberg-Schulz, or the recent architects and theorists such as Alberto Perez-Gomez and Nader El-Bizri have conducted phenomenological researches in architecture. Since 1970s, linguistic studies have been employed in art studies and it was followed by the application of semiotics as a branch of linguistics in the criticism and reading of artistic texts. In 1980s and 1990s, several books and PhD theses were written based on architectural semiotics. Such publications focused mainly on the literature of semiotics and tried to create a link between these concepts and the theoretical fundamentals of architecture. They provide no specific method based on semiotic theories for architectural reading. Considering these facts, this paper aims to introduce a method for architectural reading based on the semiotic theories.In any interpersonal action or communication, we produce and reproduce text. Any social text (like architecture) contains a message or a set of messages that are transferred to the addressee through signification nodes and intertextual relations. The addressee receives the messages of the text and semanticizes the text based on the network forming the text as well as the intertextual relations and layers that are interpreted by social conventions, subjective issues and understandings, and his point of view. That is, any text provides the addressee with a signification system and network, and each component of this network refers to another component in the network. Each component of the network is a sign inviting the addressee to represent and reproduce the text, which is itself a network of signs. These signs have no meaning in isolation, and they only receive their signification function when they are inserted in a network-like context of a text. To understand, interpret, and semanticize the text, a coherent discipline is required to recognize the elements of a text, intertextual relations, and interpret the meaning of a text. This discipline is called semiotics, and it is concerned with anything that can be taken as a "sign" Semiotics is the understanding of the phenomena of the world by reading the existing signs , and it produces meaning for the social phenomena based on signification relations. In other words, semiotics is the study of signs based on all cultural manifestations such as language, music, film, fashion, architecture, and the layers beyond tangible signs, as well as connotations and the absent realms of a text. Semiotics has three main functions including the study of signs, the relation between signs, and reading of addressee. Two structuralist and poststructuralist approaches govern semiotics. The structuralist semioticians had a linguistic approach and decoded the texts by believing in a direct relation between text and its meaning. The poststructuralist semioticians recognized an indirect relation between the text and its meaning, and dealt with the pluralistic aspects, internal layers of the text, intertextual relations, and Différance.In the following, several contemporary mosques in Tehran have been studied using semiotic approach.The hermeneutic layer consists of several sub-layers and meaning streams from a sub-layer to another sub-layer in a fluid and unfixed manner. Thus, the reading of an architectural text requires to pay attention to the layers forming the design and to semanticize the design based on the collocated layers. In the construction of contemporary mosques, no attention is paid to the layers of the architectural body and the balance between these layers, and only the functional and anatomical aspects are of significance. The simultaneous attention to the layers involved in designing contemporary mosques enables us to develop mosques that have appropriate functions, reflect Islamic aesthetics, have an Islamic-Iranian approach, and meeting the needs of today's human. In such a case, there will be no need to repeat the history and merely imitate the historical elements of mosques, but rather, the broad Islamic concepts are reproduced based on today's approach.}, Keywords = {Models of semiotics,Text of architecture,Reading of text,Semiotics of mosque}, volume = {4}, Number = {2}, pages = {22-35}, publisher = {Tarbiat Modares University}, url = {http://bsnt.modares.ac.ir/article-2-9824-en.html}, eprint = {http://bsnt.modares.ac.ir/article-2-9824-en.pdf}, journal = {Naqshejahan- Basic studies and New Technologies of Architecture and Planning}, issn = {2322-4991}, eissn = {2538-2594}, year = {2014} } @article{ author = {mahdavinejad, mohammadjav}, title = {Dilemma of Prosperity and Technology in Contemporary Architecture of Developing Countries}, abstract ={}, Keywords = {}, volume = {4}, Number = {2}, pages = {36-46}, publisher = {Tarbiat Modares University}, url = {http://bsnt.modares.ac.ir/article-2-11331-en.html}, eprint = {http://bsnt.modares.ac.ir/article-2-11331-en.pdf}, journal = {Naqshejahan- Basic studies and New Technologies of Architecture and Planning}, issn = {2322-4991}, eissn = {2538-2594}, year = {2014} } @article{ author = {habib, farah and barzegar, zahra and cheshmeghasabani, maryam}, title = {Prioritization of Effective Building Energy Consumer Parameters by AHP Deployment}, abstract ={The building sector is responsible for one-third of global final energy consumption and thus environmental damage, carbon dioxide production. Some reasons for ever increasing building energy consumption : climate change, increase in household electricity load , the growth of real estate, fast-growing household electrical appliances, changes in industrial structure, huge energy consumption of the existing buildings, and the lack of strict government supervision. The world's total energy requirements are mostly used in sectors such as transportation, industry, residence, commerce, etc.. Although most of the energy consumption during the period 1973 to 2009 belonged to the industrial sector, it can be said that the proportion of residential buildings is very high and is increasing rapidly.. World Statistics published by the Department of Energy, United States of America in March 2010 shows that most houses widely use energy for heating and hot water and then cooling and lighting. Therefore, the revision of quality architectural design of buildings, based on the climatic principles , will be very effective in optimizing fuel consumption so that the energy consumption can be controlled wisely and optimally. On the other hand the use of renewable energy technologies can provide energy surplus of buildings and eliminate the problems associated with fossil energy in great extent.Adopting conservation measures on a large scale does allow reducing both electricity and total energy demand from present day levels while the building stock keeps growing. They simulate climate-dependent hourly building energy demands at user-defined scales, typically an individual state or utility zone. Due to the effective role of energy in economic development and its increasing consumption in parallel with the growth of human communities , considering resource constraints and preventing from facing with an energy crisis, the need for conservation through management application is necessary which demands new strategies and approaches in both environmental and architectural revisions for design and building. In particular, the high energy consumption especially in buildings is a major problem in developing countries which has economic and environmental impacts of prime importance while it is considered to be the most significant cornerstone of growth in different dimensions. Buildings , it is statistically shown, account for a third of total global energy consumption. Energy consumption in buildings is increasing due to several factors including climate change, increasing electrical energy consumption in households, real estate development, diversity of modern appliances, changes in industry structure, very high energy consumption in existing buildings and the lack of adequate supervision of the state.. Therefore, efforts must be focused on the control and management of energy consumption . The purpose of energy management is reducing energy consumption in a way that is logical and economical and can cause no negative effects on welfare and thermal comfort. So, a focus for building energy consumption efforts is of great importance. The occupant behavior and building manner can both increase the building energy consumption, especially residential ones.In the building quality part, there are many techniques affects on building energy consumption, which divide to passive and active. The passive ones are the techniques that related to the body and design of a building as material, utilization of solar radiation on the bodies, length and width of building, insulation, window, and so on without electrical or other energy portfolio, but the effect of these parameters was not equal. Therefore, this study presents an approach to determine the effect of main parameters of some of the building techniques on energy consumption. In this study, these parameters were identified and evaluated and finally were Prioritized. Not all of the parameters has equal role on energy consumption, which the mentioned weights indicated. The remainder of the paper organized as follows. Firstly, the parameters were identified by research and interview. The effective parameters recognized as the alternatives of the mentioned hierarchy3 step trees, which can be listed as follows: occupants; built area; Step No.; Proximity degree; Window to wall ratio; Length to width ratio; Side. Secondary, the questionnaire performed and completed by experts as architects, mechanical engineers and energy engineers. Analytic hierarchy process (AHP) and its applications in surveys related to buildings were presented. Up to now, the AHP method has been widely applied in the general policymaking in buildings. Next, the effective parameters on energy consumption evaluated, and in next section the AHP for the approach concernedexplained and resultsoffered. Finally, the last Section includes the concluding remarks. The weights and priorities of the effective parameter are illustrated. As a result, considering weight of factors in building designing process, the different parameters of BO can be classified and evaluated: First, the main effective parameter is window to wall ratio. Depends on the weight of this parameter (0.36), the window area and materials are important for building designers. Another main parameter is side no., if a building has 1 or 2 or 3 or 4 side, its energy consumption differs fundamentally. Choosing the main direction, side and the side no. are all associated. One of the main results is about the building area depending on energy consumption, which considers having the main role, but in present survey concluded that the third effective parameter is area. The least effective parameter is occupant number, due to energy load of building space and quality, not building occupant. Urban designers and Architects considering Building Orientation (BO) and its parameters can design buildings that are energy efficient. If building orientation )BO( is considered, solar radiation absorbed by the surface structure of the building will become more favorable, and consequently the energy consumption will be reduced. However, if the building orientation (BO) is considered along with climatic factors, there will be direct effect of increased energy costs. In addition , urban designers must greatly pay attention to building sides while determining the building blocks as the transmitting surfaces are from outdoor to indoor in summer and vice versa in winter. Architects must also pay attention to different ratios of windows to create the proper ratio of heat transfer in the buildings. The materials used in the buildings are of great importance.}, Keywords = {Building Energy consumption,Solar radiation,Building orientation (BO),Analytic Hierarchy Process (AHP)}, volume = {4}, Number = {2}, pages = {47-53}, publisher = {Tarbiat Modares University}, url = {http://bsnt.modares.ac.ir/article-2-9152-en.html}, eprint = {http://bsnt.modares.ac.ir/article-2-9152-en.pdf}, journal = {Naqshejahan- Basic studies and New Technologies of Architecture and Planning}, issn = {2322-4991}, eissn = {2538-2594}, year = {2014} } @article{ author = {shabani, amirhossein and izadi, mohammad saei}, title = {Exploring the position of creative city theory in culture led urban regeneration}, abstract ={The evolution of urban regeneration was the story of interaction and sometimes conflict of economical and cultural priorities and this subject has happened to change the paradigms, theories and pattern which are dominanted on political-economical systems and social transitions. During the last decades, the role of culture in urban regeneration in related to other factors has been changed scientifically. In recent decades, cultural emphasis has been the main approach to urban regeneration.Meanwhile, today in the context of social-economical changes, the theory of creative city which has globalization in its main content, on the one hand has special attention to human, social, and cultural capitals and on the other hand in dealing with spatial features try to create economic competitiveness, social cohesion and cultural diversity reaching to unique image of city. Therefore, addressing capacity of the creative city theory in urban regeneration field can has the new visions on the strategies and policies in this field in our country. This study explains creative city theory and describe its position in culture led urban regeneration ,for this purpose , the theory of creative city and its urban strategies with descriptive-analytical research method has been studied. The results show that the theory of city creative with emphasis on culture and economic(competiveness) in physical context , sets to culture led urban regeneration direction and such a communication mechanism is presented in the form of a conceptual model. This conceptual model can offer strategies in operating this theory as an intervention approach in obsolescent and historical contexts. The evolution of urban regeneration was the story of interaction and sometimes conflict of economical and cultural priorities and this subject has happened to change the paradigms, theories and pattern which are dominanted on political-economical systems and social transitions. During the last decades, the role of culture in urban regeneration in related to other factors has been changed scientifically. In recent decades, cultural emphasis has been the main approach to urban regeneration.Meanwhile, today in the context of social-economical changes, the theory of creative city which has globalization in its main content, on the one hand has special attention to human, social, and cultural capitals and on the other hand in dealing with spatial features try to create economic competitiveness, social cohesion and cultural diversity reaching to unique image of city. Therefore, addressing capacity of the creative city theory in urban regeneration field can has the new visions on the strategies and policies in this field in our country. This study explains creative city theory and describe its position in culture led urban regeneration ,for this purpose , the theory of creative city and its urban strategies with descriptive-analytical research method has been studied. The results show that the theory of city creative with emphasis on culture and economic(competiveness) in physical context , sets to culture led urban regeneration direction and such a communication mechanism is presented in the form of a conceptual model. This conceptual model can offer strategies in operating this theory as an intervention approach in obsolescent and historical contexts The evolution of urban regeneration was the story of interaction and sometimes conflict of economical and cultural priorities and this subject has happened to change the paradigms, theories and pattern which are dominanted on political-economical systems and social transitions. During the last decades, the role of culture in urban regeneration in related to other factors has been changed scientifically. In recent decades, cultural emphasis has been the main approach to urban regeneration.Meanwhile, today in the context of social-economical changes, the theory of creative city which has globalization in its main content, on the one hand has special attention to human, social, and cultural capitals and on the other hand in dealing with spatial features try to create economic competitiveness, social cohesion and cultural diversity reaching to unique image of city. Therefore, addressing capacity of the creative city theory in urban regeneration field can has the new visions on the strategies and policies in this field in our country. This study explains creative city theory and describe its position in culture led urban regeneration ,for this purpose , the theory of creative city and its urban strategies with descriptive-analytical research method has been studied. The results show that the theory of city creative with emphasis on culture and economic(competiveness) in physical context , sets to culture led urban regeneration direction and such a communication mechanism is presented in the form of a conceptual model. This conceptual model can offer strategies in operating this theory as an intervention approach in obsolescent and historical contexts The evolution of urban regeneration was the story of interaction and sometimes conflict of economical , social and cultural priorities and this subject has happened to change the paradigms, theories and pattern which are dominanted on political-economical systems and social transitions. During the last decades, the role of culture in urban regeneration in related to other factors has been changed scientifically. In recent decades, cultural emphasis has been the main approach to urban regeneration.Meanwhile, today in the context of social-economical changes, the theory of creative city which has globalization in its main content, on the one hand has special attention to human, social, and cultural capitals and on the other hand in dealing with spatial features try to create economic competitiveness, social cohesion and cultural diversity reaching to unique image of city. Therefore, addressing capacity of the creative city theory in urban regeneration field can has the new visions on the strategies and policies in this field in our country. This study explains creative city theory and describe its position in culture led urban regeneration ,for this purpose , the theory of creative city and its urban strategies with descriptive-analytical research method has been studied. The results show that the theory of city creative with emphasis on culture and economic (competiveness) in physical context , sets to culture led urban regeneration direction and such a communication mechanism is presented in the form of a conceptual model.}, Keywords = {Culture led urban regeneration,Creative city,Creativity,Obsolet urban areas}, volume = {4}, Number = {2}, pages = {54-63}, publisher = {Tarbiat Modares University}, url = {http://bsnt.modares.ac.ir/article-2-6763-en.html}, eprint = {http://bsnt.modares.ac.ir/article-2-6763-en.pdf}, journal = {Naqshejahan- Basic studies and New Technologies of Architecture and Planning}, issn = {2322-4991}, eissn = {2538-2594}, year = {2014} } @article{ author = {Shakibamanesh, Amir and Alalhesabi, Mehran and Behzadfar, Mostaf}, title = {Modern Urban Design: From Cue Approach to Practical Optical Illusions}, abstract ={Different people have different perceptions of physical space where movement and rest occur. In this regard, perception of three-dimensional space from the point of view of stationary and moving observers can be analyzed from different perspectives including the observer's favorable or unfavorable perception, persistency and recall capability of the perceived space, the influence of different design variables on the perception, etc. But one of the most important issues which has not attracted due attention in this area and will form the subject of the present study is that of deliberate distortions in the "perception of subjective depth and distance" of a path or space. Indeed, by using the perception of depth and distance and the deliberate distortions in the field of urban design, designers will be able to change this perception experience via informed arrangement of spatial qualities as appropriate in line with the overall design objectives. This way, they can represent a route as shorter or longer than its actual conditions in the minds of observers and users of space. In this paper, among various theoretical approaches about the human visual system function in relation to the perception of depth and distance, cue approach is discussed due to greater emphasis given to it in scientific literature published in recent years as well as its comprehensive theoretical perspective. Based on this approach, in the first part of this article, an attempt has been made to review and analyze the most significant components affecting the perception of depth and distance using a scientific approach via urban design perspective. These components can be integrated or reduced in order to directly control the relative amount of depth and distance perception in the physical space. In the second part, deliberate distortions and their application in design of physical-spatial structures of urban environment in a practical approach are discussed. Upon on the purpose of the study it is based on applied research. Due to complexity of depth and distance perception, we used the combination of exploratory and descriptive-analytical research as the methodology. Keywords: Urban Design, Perceptual Depth and Distance, Cue Approach, Deliberate Distortions, Practical Optical Illusions}, Keywords = {"Urban Design","Perceptual Depth and Distance","Cue Approach","Deliberate Distortions","Practical Optical Illusions"}, volume = {4}, Number = {2}, pages = {64-75}, publisher = {Tarbiat Modares University}, url = {http://bsnt.modares.ac.ir/article-2-8279-en.html}, eprint = {http://bsnt.modares.ac.ir/article-2-8279-en.pdf}, journal = {Naqshejahan- Basic studies and New Technologies of Architecture and Planning}, issn = {2322-4991}, eissn = {2538-2594}, year = {2014} } @article{ author = {sajadi, fariborz and rostami, mohsen and rostami, soray}, title = {Historic Roots of the Challenge of Tradition and Modernity in Contemporary Architecture of Qajar Era}, abstract ={Iranian architecture was subjected to chaos and confusion from the late Qajar and early Pahlavi era. In this period we see the simultaneous construction of buildings, each representing one of the schools of a distinct period of history. The diverse and often conflicting tendencies in architecture of this period were mostly due to the differences between the political and ideological trends of this era of history, grounded in the political current of late Qajar and early Pahlavi. These different orientation have led to the institutionalization of a new style of architecture in the Qajar period that caused Iranian architecture to blend some specific factors of its form to those of far East, and put tradition and modernity face to face that is artistically pleasant. Combining tradition and modernity in architecture begins in Qajar. Numerous trips of kings and princes to Europe are the main cause of modernization arrival to Iran. This trend became faster in the period of Nasereddin Shah and Persian art took great strides during the Qajar king. Qajar is the period of conflicting architectural values and ideas, and diversity in urban architectural trends and styles. This diversity and contrast which is influenced by various factors of different approaches to modernity and tradition, can be mostly seen in the field of residential architecture, so that, the architecture of this period has been called, housing architecture or residential architecture. From the engravings of pillars and entrances to elements such as pediments and even windows forms and volumetric adaptation form the buildings only show a part of Qajar era architecture. This mixture occurred not only in architecture but also with changes in other organs and Iranian social phenomena, which, in its own time, was considered as modernism. In this paper, In addition to defining tradition and modernity, the following questions will be answered: (1) how is the confrontation of Iranian contemporary architecture (Qajar period) with East architecture? , (2) is it possible to see any relationship between architect’s designing of architectural elements and their time of formation? To find answers to these questions, arguing settlement method / technique of cross - sectional - interpretation is used. To collect opinions (informed people in the field of Architecture) questionnaire technique is used. The results show that, in recent one hundred and fifty years, modernity, has thrown light on many aspects of Iranian society, many theoretical and political conflicts of this period, from "Islamic solidarity" to "westernization", “Constitutionalism Movement "to" Islamic Revolution ", from "Marxism" to "Ziaeeian and Pahlavian modernity" and from "Alavi Shia" to "ideas of progress", were all part of efforts towards transforming, modifying, or enforcement and closing modernity. Changes in Iranian architecture during the Qajar and architectural trends towards West architecture, has not occurred uniformly and homogeneously and this is not encompasses all segments of the society; It was first emerged in the palaces of kings and then nobility. Emerging a gap between rich and poor classes and a heterogeneous picture in architecture of city was natural at this stage; riches’ houses became increasingly luxurious and those of poor were in traditional and old form. This resulted in the duality and conflict in the appearance of city. It means that the impact of European architecture was firstly revealed in royal buildings, then in public buildings and finally in residential architecture. These influences are mostly in the architectural forms and not in the methods or construction. In the late Qajar period, European architecture can be seen in all sectors and buildings. Complex decoration and tore the can be notably seen in Qajar architecture, these characteristics dates back to the introversion of Qajar architecture. Much attention has been paid to interior side and this part was separated from outside by complex decoration, but it gradually changed, since on the one hand, the materials used in construction were changed and new materials were used in construction, on the other hand, at late Qajar and early Pahlavi introversion changed to extraversion. The walls became short and exterior facades were noted, the spaces became more creative and diverse, and In a word, we can say that Naserrian fence was broken. In the meantime, many buildings, constructed in the Qajar period, were affected by Western architecture. In this study, we will examine more than fifty buildings of this historical period, recommended by the professors, but due to the limitation of this paper, only two outstanding works which were accomplished in the form of questionnaires, will be mentioned. After examining some architectural samples, we will find out more about the logical relationship between passage of time and West architecture and the historical importance of building. In term of historical period, a logical relationship is seen between the passage of time and West architecture. Based on the tests conducted, the correlation value is 48%, that with regard to 0.002 error, this is a substantial and highly significant number. In other words, the more we approach the end of the period, the more the building are under the influence of West architecture. This diversity and contrast which is influenced by various factors of different approaches to modernity and tradition, can be mostly seen in the field of residential architecture, so that, the architecture of this period has been called, housing architecture or residential architecture. In terms of historical importance of the building, the more we approach the end of the period, the relationship become more significant. Correlation value of 0.058 and the error rate of 0.017, show a relatively accurate and proper relation, so that we can expect that the building of the late Qajar have more historical significance than those of the early period. Likewise, in term of the significance of the contemporary building, there is also a significant relation. And again, the more we approach the end of the period, the relationship become more significant. This is quite evident according to Table 3 and 5.}, Keywords = {architecture",tradition",modernity",Qajar"}, volume = {4}, Number = {2}, pages = {76-85}, publisher = {Tarbiat Modares University}, url = {http://bsnt.modares.ac.ir/article-2-5101-en.html}, eprint = {http://bsnt.modares.ac.ir/article-2-5101-en.pdf}, journal = {Naqshejahan- Basic studies and New Technologies of Architecture and Planning}, issn = {2322-4991}, eissn = {2538-2594}, year = {2014} }