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سال بیستم شماره 129 (اسفند 1402)

Problem statement: 

The old and new textures differ in terms of the spatial arrangement of passages, squares, and open spaces, segmentation, and building typology. Factors such as the ratio of height between floors to the width of passages, building orientation and permeability, etc. are factors that influence the old and new textures. Climatic factors such as wind, radiation, temperature, and humidity affect the morphological pattern. 

Therefore, the current study was conducted analyze the effects of climatic components on the morphology of old and new textures. Now, how can we study the environmental comfort through the morphological study of the old and new tissues in terms of the influence of climatic components?

This research has used the content analysis method to conduct a comparative study of two old and new textures under the influence of environmental comfort characteristics of people determined morphological characteristics related to climatic components in selected urban textures; which finally presents a series of analysis resulting from the comparative method to compare two case studies of different data analysis tools ArcGIS 10.4.1, Auto Cad, UCL Depth-Map and Ray-Man and meteorological data and information in the form of qualitative and quantitative analysis.

The results show that there is a reciprocal relationship when examining the changes in the components of spatial arrangement and climatic stability in the old and new textures. Urban morphology has a significant impact on energy consumption and climate comfort. By using two methods to study climate components such as temperature, humidity, and wind speed in different textures of study samples and by using the spatial arrangement method, the environmental comfort level of people using these places was evaluated and compared which there are some differences and significant similarities in terms of climatic factors.

Problem statement: 

The semantic values hidden in the architectural context of historical structures are investigated in this study. The research studies the interaction between form and meaning and investigates the complex links between the body, form, and spirit of architecture by focusing on the case of Sepah Street in Tehran. 

This study is based on the concept that architectural design has a deep capacity to convey meanings and these meanings are often deciphered through roles, expectations, and motivations. 

The main question of the research revolves around understanding the inherent semantic structure of the historical bodies of Sepah Street and how these structures help to understand the place. The study assumes that the architectural semantic values of historical structures can be analyzed through 25 indicators grouped into five value levels. These levels include various aspects such as basic balance, functional compatibility, emotional attachment, cultural identity, and symbolic abstraction. The research method was historical content analysis and data were collected quantitatively.

The results show that Sepah Street has a dynamic balance between tradition and modernity. This architecture shows a remarkable ability to expand the organic form while maintaining its essential character. The proportion, connection, rhythm, and order components create a harmonious unity among building elements that enhance the place’s sense. The historical context of the street seamlessly interacts with its surroundings and shows the importance of continuity and interaction. This study shows how the architectural configuration of Sepah Street communicates with its residents on emotional levels. The architectural simplicity of this place fosters a strong sense of belonging, while the intentional inclusion of ambiguity and harmony evokes an emotional depth that resonates with observers. In addition, this research shows how architectural design responds to cultural and symbolic values and shows identity, contrast, and harmony. The precise orchestration of these elements helps to form a coherent and meaningful architectural context.  In short, the research analyzes the semantic values hidden in the historical context of Sepah Street in Tehran., It highlights the subtle interplay between architectural form and the evocation of meaning by exploring the instant, functional, emotional, cultural, and symbolic dimensions comprehensively. The findings emphasize the importance of architectural design not only in the physical dimension but also in the essence of place, culture, and identity.

Problem statement: 

Despite repeated legal emphasis, during the last few decades, new constructions in the historical urban fabrics of Guilan province have generally been built without observing the necessary harmony with the historical architecture of these cities. The problem that the current research examines is what characteristics are recommended in the façade design of new constructions within the surroundings of valuable Qajar houses in the cities of Guilan province to reach visual compatibility between new and old facades.

The present research aims to develop some design recommendations that seem to help to achieve visual compatibility between the façade of new buildings and the adjacent valuable historical buildings. This can be considered a step towards developing façade design guidelines for the relevant historical districts.

The current research uses a combination of interpretive-historical and logical argumentation strategies. Research data were collected from archival sources and field visits, including 74 valuable Qajar houses located in the cities containing registered historical urban fabrics in Guilan, consisting of Rasht, Lahijan, Langroud, Anzali, Amlash, and Roudsar.

By looking at the upstream regulations for the protection of the historical fabrics of Iran, placing the Semes’ classification as the basis, and considering the specific realities of the research scope, the acceptable design approaches regarding the infill buildings were determined to include “literal replication” and “invention within a style”. The “abstract reference” approach was also permitted in a limited way. By examining the character-defining features in the studied architectural samples, the headings of the façade design guide were determined, including eight titles as follows: Overall dimensions of the façade; general composition; openings; the roof; semi-open spaces; gates; materials, coloring, and decorations; and the boundary wall. In the end, a set of twenty façade design recommendations are presented.

Problem statement: 

It seems that one of the main problems of Iranian architecture today is the inability to express the concepts of Iranian architecture, and what is meant by Iranian architecture, the Architecture relies on and emerges from Iranian-Islamic theosophy , which, in this research, is its unique example, that is, Transcendent theosophy.  Since the recent studies related to the wisdom of Iranian architecture have only been without understanding the deep foundations and spiritual concepts hidden in it, so far the body and forms of Iranian architecture have been given more attention, which is insufficient to preserve the values of Iranianarchitecture. Meanwhile, the relationship between opinion and practice from the perspective of looking at the foundations of Mulla sadra to find and understand these concepts is the problem of this research. That is, how can the influence of Sadra’s ideas play a role in creating a transcendent works?

The aim of the present study is to explain the reasons of excellence in Iranian architecture by relying on the opinions and theoretical principles of Transcendent theosophy. In the meantime, the connection of intellectual elements from the field of Transcendent theosophy to art, and especially, the architectural work that helps to recognize the authenticity of Iranian art, will be highlighted.

The present article is of the fundamental-theoretical research type. In short, it can be said that the strategy of this study is logical reasoning. Its data is mainly obtained through observation and archival studies. Appropriate and relevant solutions have been collected and compiled through information analysis. This research has been done in terms of structuralism, focusing on the influence of philosophical thinking in architecture. Data analysis is also done according to the qualitative analysis method.

It can be said that the missing link in contemporary architecture is the connection between art and the field of the basics of Iranian theosophy, which can lead us to understand the concept of truth. According to the results of the findings, it can be stated that the difference between the present research and the previous researches is the use of three principles: the primacy of existence and the principle of grades of existence and  “substantial motion”(al-harakat al-jawhariyyah)in Iranian architecture and discovering the union between the foundations of transcendent theosophy and Iranian architecture.The results of the present study, based on Mulla Sadra’s opinions, indicate that architecture includes two dimensions of existence and nature.  Nature dimension responding to material needs and its existence dimension is the truth that is hidden in the architectural works themselves. According to the principle of primacy of existence of Mullah Sadra, it can be acknowledged that in architecture, originality will have an existential dimension, and the principle of substantial motion leads to excellence from material to meaning based on spiritual foundations in the form of mysteries.Therefore, using the intellectual foundations of MullaSadra, principles to achieve excellence can be achieved in contemporary Iranian architecture.

Problem statement: 

The question of the quality and the meaning of home is a profound question, which is as old as human life. In this connection, the wide gap in research between home architecture and the texture called home in today’s life requires investigating the relationship between these two areas. A relationship also involves the missing link between the position of residents and their understanding of what they experience by staying in homes. How can the architectural patterns of apartment homes and the main spaces constituting them be improved to meet residents’ needs based on how they define the meaning of home? How can these patterns be converted into generalizable patterns of various forms?

The goal of this study was to understand the core criteria underlying the meaning of home from the views of residents, represent this meaning in home architecture, and then develop patterns for improving the existing situation of apartments based on residents’ parameters for approaching life-centered environments. 

The present study used a qualitative approach and had an applied goal. This study also fell under descriptive-analytical methods and data were collected from library sources and field surveys. Also, data were analyzed by using the Grounded Theory method. Here, to collect data, in-depth semi-structured interviews were conducted with 42 residents of apartment homes located in the middle texture of the city of Kermanshah, Iran. The sampling process continued until theoretical saturation was achieved. Also, field observation and surveys of existing spaces were carried out. 

The repetitive and uniformity of architectural forms of various scales cannot turn a living place into being home; rather, it is the patterns that function to turn living places into being home. In this connection, three patterns of various scales were examined within six main spaces of apartment homes; personal rooms, private rooms, collective spaces, semi-open spaces, entrances, and kitchens. The layering of pre- and post-spaces beyond interior spaces, broken patterns in spaces with private-public accessibilities, and middle spaces were found to be the main optimal patterns in all spaces.

Problem statement: 

With Iran’s entry into the threshold of modernization and the establishment of the University of Tehran in the year 1934 (1313 AH) and the gradual formation of the Faculty of Fine Arts until 1940 (1319 AH), art and architecture education took a new approach towards academic methods. Academic experiences for approximately two centuries have shown how architecture is taught has a significant impact on the formation of architects’ personalities and is reflected in their architectural works. One of the most influential academic institutions in this regard is the Bauhaus School in Germany. The Faculty of Fine Arts, as the first academic center for architectural education in Iran, has also demonstrated explicit interactions with many of these schools, including the Bauhaus, in terms of adopting innovative teaching methods. The influence of the predominant approach of the Bauhaus School can be observed in the examination of the works of professors and students. 

The objective of this research is to examine the Bauhaus approach in Germany, identify the patterns of this style, and trace them in the architectural structures of the Pahlavi era, which include the works of professors and students of the Faculty of Fine Arts at the University of Tehran. 

This study is interpretive-historical, and as a result, the analysis of the findings and the influence of the fine arts are approached through a descriptive-analytical research method. To achieve this, several examples of buildings constructed by professors and students of the Bauhaus School were examined. The main design features have been extracted through the examination of these samples and interviews. Then, by systematically weighing the indicators using a developed formula, the degree of affiliation of each architectural work to this style was determined.

The results of the research indicate that the influence of the fine arts from the Bauhaus approach can be seen during the period of Emmanuel Pontremoli’s management. The commonly used architectural parameters of this style include flat roofs, the use of modern materials and technology, a balance in the composition of volumes and facade elements, and functional beauty. These features are more pronounced compared to other characteristics, such as white facades and pilotis.

modernization movement in the world; 

The construction of Lalehzar street is one of the first governmental actions in Iran to join this line. The idea claimed is that the lived history of Lalehzar street is a precise reflection of the modern definition which transformed it from a garden street into an urban public space. The changes in the facades of buildings, the installation of urban furniture, paving of roads and the strengthening of street functionalities such as the construction of hotels, cafes and theaters are among the significant facts of this process. Lalehzar street, which was first built in the Qajar era in order to create a place of leisure in the city for courtiers and financiers, was transformed into a public space for residents during the first Pahlavi period and allowed people to devote time and to participate in the flow of urban life.

Reading the perceptual role of the urban modernization process in the formation of modern Tehran’s society under the 1st Pahlavi, based on the physical developments of Lalehzar street.

By distinguishing four interventions being “decoration”, “alignment”, “facadization” and “monumentalization” considered as the main measures of urban modernization, Lalehzar Street is examined through an iconographic approach and the hints of the interventions mentioned are analyzed in it.

The emergence of an “urban ambiance” rising from the modernization of rue Lalehzar which is different from the general culture of the society; As well as the fact that modernization in Iran began with rue Lalehzar, define the main results of the research.