مقالات رزومه دکتر مصطفی کیانی هاشمی اصفهانی

When dealing with a diverse and rich environment, humans record limited information in their minds, and this information forms a comprehensive, albeit inaccurate, mental image of the environment. On the other hand, living in high-rise residential buildings in Iran is always associated with dissatisfactions that a clear mental image in the minds of the residents can reduce these dissatisfactions. Physical factors and psychological factors can play an effective role in the formation of mental image in people. This research aims to identify the physical factors that create a clear mental image in the minds of the residents of high-rise buildings. Therefore, the explanation of the physical factors affecting the mental image of residents of high-rise residential buildings is a research question. The current research is fundamental in terms of its purpose and quantitative in terms of its approach. The research data collection method is a combination of library studies (theoretical) and field studies and a survey based on a questionnaire with closed and semi-open questions. In explaining and analyzing the research, the Echner and Ritchie model is used and the questions of the questionnaire are set based on two dimensions of this model, functional-general and functional-current and experts' opinions. The designed questionnaire was given to all the architects who have an active consulting company in Urmia city and expert professors of the country in the field of mental imagery and architecture, so that in addition to answering, if there is another important factor, they can add it. Then, the questionnaire was given to the residents of high-rise buildings in Urmia city by random sampling method and their answers were analyzed. The results of the research in the functional-general dimension showed that the factors of form characteristics (shape, color, texture and size) and technical safety and view are effective in forming the mental image of residents of high-rise residential buildings. Also, the results of the research in the functional-partial dimension (where all the factors were measured on the parking, access corridors, stairs and elevators, roof, entrance, lobby, pause and rest spaces, yard and interior space of the residential unit) in the order of the factors Technical safety, legibility, light and illumination, visibility and scenery are more effective in forming the mental image of residents of high-rise residential buildings.

Currently, the population increase in Iran leads to an increasing number of high-rise residential buildings. Many studies have been done regarding tall buildings, however, living in tall buildings makes the residents dissatisfied. Though numerous factors are effective in line with residents' satisfaction with living in high-rise buildings, their feelings and needs are focal points in this regard that can upsurge their satisfaction. Due to the fact that residents’ mental image of high-rise buildings is effective in their feelings in line with the environment, studies done in this regard aim to examine and study the mental image to increase the satisfaction of the residents. These dissatisfactions could be reduced via a perfect mental image in the residents’ minds. Physical and psychological factors are really significant in people’s mental image formation, and regarding this fact, in the present article, physical factors are considered. In terms of purpose, present research is fundamental; because it aims to recognize traditional houses and tall residential buildings and spaces that can be effective in creating mental images. Accordingly, traditional houses and high-rise residential buildings in Urmia are investigated and compared via the descriptive-analytical method, and their spaces are analyzed. In the next step, the present study identifies the spaces that are effective in the mental image of the residents of high-rise residential buildings using a quantitative approach and a questionnaire that is scored based on a Likert scale. A combination of library studies (theoretical) and field studies is used to collect the required research data and in this regard, a questionnaire-based survey with closed questions was used as the desired tool. In the present article, first, numerous traditional houses that belong to the first and second Pahlavi periods (Assadollahzadeh, Neshat, Rezqdeh, Teymurzadeh, and Shafipour houses) in Urmia were visited and observed. They have been compared with the high-rise residential buildings of Urmia (Elahiyeh, Golestan, Pezeshkan, Golshahr, and Valiasr buildings). It is evident that all traditional houses of Urmia city have basements and wooden roofs are seen in most of them. At the beginning of the first Pahlavi Era, the residential and service areas were separated by a large yard. Over time, the houses have been renovated and all the spaces have been assigned to one section. Instead, compared to the first Pahlavi period, the number of warehouses decreased in the second Pahlavi period. The building facade constructed with brick and different designs along with large vertical windows is one of the distinguishing features of these houses. To communicate with family members, inner windows and niches are seen in different places. The trunk is part of the main furniture of these houses. The survey of high-rise residential buildings in Urmia City discloses that every residential and service part are limited to one unit. Conversely, the yard and basement are removed or publicly available to everyone. The spaces connection is evident at low height and the houses are high. Likewise, most of the houses are smaller, and closely connected interior spaces can be seen in the house. The comparison of Pahlavi Era houses and high-rise residential buildings revealed that, over time, factors have been removed or even replaced in the high-rise residential buildings. In line with these changed items, one can mention the removal of the private courtyards, removal of the basement, removal of Iranian and traditional designs, shortening of windows, lack of different spaces such as the rooftop, removal of Iranian architecture, removal of traditional furniture, removal of native and natural materials and the connection of internal spaces using internal windows.Then, in three months, via random sampling method, the questionnaire was given to 384 residents of high-rise residential buildings. In the current study, the statistical population is all the residents of residential buildings above 8 floors, which is about 15,000 people regarding the statistics of Urmia City Housing and Urban Development Department. The sample population is obtained from Morgan's table as 375 people. A total of 297 residents filled out the questionnaire, of which 97 questionnaires were discarded due to incompleteness. Consequently, 200 questionnaires were analyzed. The questionnaire results revealed that large and all-around windows with less OKB independent yards, using local materials, availability of different spaces of the building, and brick façade and traditional furniture can be effective in its mental image.

Nowadays, due to the increase in population in Iran, high-rise residential buildings are expanding and it brings the dissatisfaction of the residents. The mental image of residents of high-rise buildings can affect the residents' feelings about the environment. The current research is fundamental in terms of its purpose; Because it seeks to present a mental image model in the evaluation of tall residential buildings.

In this regard, first, using the descriptive-analytical method, the definition of the concept of residence and its investigation in high-rise residential buildings, as well as the mental image, are discussed. Then, with a quantitative approach and using a questionnaire, it is measured which factors and in what dimensions are effective on the mental image in measuring high-rise residential buildings. The research data collection method is a combination of library studies (theoretical) and field studies and surveys based on questionnaires.

In the first step, the physical and psychological factors affecting the residents' mental image were investigated and identified using exploratory factor analysis. Then, in the second step, recognition of the contribution of the set of factors in explaining the variance of each item (table of commonalities) was done, and finally, in the third step, the total value of explained variance was presented.

The obtained results show that the mental image in high-rise buildings needs to be evaluated in two physical and psychological dimensions, and since the residents are more sensitive to their living place than urban spaces, two partial dimensions and general are also added to the evaluation model. Therefore, according to the examination of different models of the mental image, Echner and Ritchie's model with a slight change and removal of the third spectrum is the most consistent with the goals of the mental image in the evaluation of high-rise residential buildings, why in the functional-general dimensions And a partial function is used to examine physical factors, and psychological-general and psychological-partial dimensions are used to examine psychological factors.

Built environments in any region have unique features reflecting the specific culture of that region because environments are formed based on people's mental patterns and these mental patterns are formed in people's minds according to their culture. People's mental images have been formed due to certain factors over time, and have played a significant role in creating sensory and emotional relationships and correct actions and reactions between people and their living environment. Therefore, studying the relationship between culture and architecture requires the investigation of people's mental images influencing the built environment, and the examination of cultural components and how they relate to the mental image. The present study is fundamental qualitative research carried out descriptively and analytically. Using documentary and library studies, the present study examines how clear mental images are formed in people's minds based on the cultural components extracted from Amos Rapaport's viewpoint to relate the two concepts of culture and mental image to show how they influence the built environment, what their important role is in the formation of built environments, and how the interaction between them and built environments is. Also, after extracting the components from Rappaport's viewpoint, for each of the components, according to their classification, two examples of Iranian architecture are selected and analyzed in the form of tables. The results show that culture from Rapaport's viewpoint influences the mental images created in people's minds. Moreover, the examples presented for cultural components indicate that lifestyle (environment-behavior interactions), social relations (caused by culture and mental patterns), customs (as a result of the repetition of behaviors), and opinions and beliefs (created over time) can be part of physical and perceptual-psychological factors of mental images and people form their environments based on these mental images. Therefore, the mental images formed in people's minds are effective in the formation of the environment.

The design of the facade in the building architectural design process has always been of fundamental importance. in this regard, the effect of western architecture on the thought of iranian architects and modern lifestyles, art deco, international style, streamline, etc. and the distinction of each of these styles in the design of the facades of architects It has a great effect like Vartan Hvansian. The most important purpose of this article is to analyze and evaluate the styles used in designing the facades of Vartan Havansian’s works. Assuming what features the style of view used in Vartan’s works has with the European style. this research has a comparative study with research questions ranging from: How can the facade design style be understood in the works of Vartan Havansian in Tehran? What are your stylistic features in European facade design with European styles? Says the answer. in this paper, we first analyze the Vartan Hvansian’s building facadees in terms of three historical periods then, the similarities of each work are studied and the results are compared with the european styles. According to the analysis of the works of Vartan Hovannisian, the styles used in the facade can be historically divided into four categories: neoclassical, Art Nouveau, Art Deco and Modern.It can be said that the Hwansian buildings were influenced by modern pre-World War II architecture, Art Nouveau, Bauhaus views, and the works of Adolf Luce and Le Corbusier. He was opposed to eclecticism and imitation of traditional Iranian architectural forms. Nevertheless, he paid close attention to social customs and tried to respond to them in modern buildings. With the arrival of neo-classical, Art Nouveau, Art Deco, and modern architectural elements in Iran, extensive changes can be observed in the design style of the facades of Vartan’s works in these three periods. Its roots go back to the late Qajar period. with the analysis and evaluation of his works, we will conclude that in most of his works in the three historical periods of indices of symmetry , full and empty, round corners , ornamentation emerge in the windows and balconies, It can be said: In the first period (1319-1300) more modern style has been used in designing facades. that in the second period ( 1320 - 1329 ) the design style is more decorated with no symmetry , compared to the art deco style and art deco style .In the third period (1330-1339), the facade design style of decorations is less and asymmetrical than the first and second periods, and both Art Deco and modern styles have been used. But in the third period, with projecting balconies protruding from the facade and decorations of windows indicating the style of Art Deco in terms of material and non - symmetry, it is partly an indicator of the modern style due to the fading of the decorations .each of these features is related to different styles in his works .

The Historiography of Iranian architecture is deemed to appear as a field of inquiry around the beginning of the 20th century. Among the various factors giving rise to it, the modern Iranian historiography has an outstanding role. In this article we seek to clarify this role by analyzing the way the first generation of the modern Iranian historians regarded architecture. To this end, we have investigated a selection of modern histories, written during the second half the Qajar era, using the interpretative methods. We have traced the changes in the perception of architecture in these texts and its implications for the subject, as it gradually undertook different roles in historiographies, moving from a mere material evidence towards a technical, independent field of academic research. In pre-Modern histories, built environment was only addressed to provide a setting for the events the historians intended to describe and writing about architecture was a way to appraise the achievement of kings and rulers. This study pinpoints the first instances where this tradition gave way to a new manner of regarding architecture in Iranian historiography. With the outset of modern historiography “Ancient Persia” emerged as a dominant narrative. The historians also started to gradually base their work on reliable facts and evidence, which included material remnants of ancient times such as coins and decorative objects, and later on, more prominent archaeological findings like buildings. Ancient architecture had become a source for obtaining knowledge of the past, although the scale it was perceived didn’t surpass the inscriptions or ornaments of the structures. As the scope of the general histories expanded to cover a wide range of historical subjects complementary to political chronologies, freestanding chapters were allocated to architecture. The historians consulted the western architectural surveys and even ventured the historical sites to study and measure the buildings. The architectural works in their writings were represented in their entirety and they utilized an almost technical terminology to describe the physical and spatial aspects of the buildings. Illustrations and detailed plans were also used to provide further information. This approach presented architecture to the Persian audience as a subject of historical inquiry and thus, paved the way for a new generation of researchers to view history of architecture as an independent field of study. The first pieces on history of Iranian architecture, independent from general histories, were articles written by art historians or archaeologist, working as delegates for western research centers, and were introduced to Iranians through the activities of newly-founded cultural institutes such as Anjoman-e-Athar-e-Melli. The accumulation of these efforts during the next decades finally lead to the publication of the first surveys of Iranian architecture.

Monuments play an important role in creating urban identity. they are upgraded to social-cultural landmarks. Dealing with the problem of meaning is mainly qualitative, and less literature has been used to quantify the meaning of architecture in terms of people. The purpose of this study is to evaluate the meaning of contemporary monumental architectures as socio-cultural landmarks In the view of the people, this research seeks to answer the following question: What are the sub-components influencing the promotion of an architectural building to socio-cultural landmarks? And what do contemporary monuments mean to people? At first, the literature was reviewed and summarized using theoretical and library studies, literature on urban sign and levels of meaning. The result of this section is a conceptual model of research in which sub-components affecting the role of architecture as a socio-cultural landmark and how they relate to the symbolic role of the building are identified. In the second part, the sub-components of the semantic section were surveyed through semantic differentiation test questionnaire to measure the meaning of the audience in seven contemporary Iranian monumental architectures. Descriptive statistics based on mean scores of responses and inferential statistics based on t-test and Tukey test were used to evaluate the results of the questionnaire. The result is social dimensions (tradition, power, media, economics, collective memory), cultural factors (rituals), psychoanalysis (subconscious and ethnicity), time (synchrony and diachronic), physical factors (Aesthetics), symptoms (visual, verbal, abstract, metaphore), climatic factors, social function are effective in shaping the meaning of an architectural work.

With the start of the Pahlavi era, the process of modernizing Iran's arrival, which began from the Qajar era, became more intense. With the continuation of this trend, one of the areas where the works of modernization emerged were architecture and urbanization. Architecture and Urbanization caused the appearance of city views in the buildings. Most of the buildings built around the streets during this period were brick and brickwork. The construction instructions were the same for the government, and for all the cities of Iran. In the meantime, there were differences and similarities in the brick decoration of various cities. This research tries to answer some questions by comparing the bricks in the two cities of Isfahan and Tehran. The questions are: What are the similarities and differences between the bricks of these two cities and what are the reasons for their creation? How does modernism affect the brickwork of these two cities? Regarding the subject of this research, its method from the perspective of the goal is a developmental research. The data collection in this research has been field-based (photographing of buildings) and library, and the result is an exploratory study with interpretation. The research is presented in five chapters, in which topics such as modernism in Iran, architecture and urbanization of the Pahlavi era, the structure of the city of Isfahan and Tehran in this period, the common trends of the architecture of this era, the history of brickwork in Iranian architecture, the types of brick decoration of this period Etc. In the last , by examining examples of the bricks of these two cities and taking into account the issues discussed in the preceding parts, we tried to determine the factors affecting the formation and creation of similarity and difference Determine the brickwork. In the last part of this research, the similarities and differences between brickwork in terms of the type of brick, the location of the facade, the geometry of brickwork, the composition of brickwork with other decorations and ... were examined. The overall result of the study of brickwork in these two cities was that the bricks of Isfahan in terms of size and size of brick, brick designs used, more elegance, working and combining with tiling and ... more connected with Ornaments and brickwork have past historic architecture, while in Tehran there is a kind of transformation through highlighting the change in size and , and changing the design of the brickwork to the past. The reasons for this could be related to issues such as centralized government policy, the later start of the process of modernism in Isfahan and other cities, and so on. The results of this research can be used for other studies that deal with subjects such as decorations in the contemporary era. Also, the results of this research could lead to the clarification of part of a section in the history of Iranian architecture, which coincided with the advent of modernism in Iran and which has been underestimated, despite its importance.

Signs with the codes that have gradually emerged during the formation and development of the city in different periods, have become familiar in the minds of the audience of the city, and the emotions, feelings, and memories of people related to their place of residence in connection are formed with these signs. The signs in the city are part of a larger and more complex universe, they are not single and alone, on the contrary, they are multi-layered, because we are constantly rewriting and rebuilding our surroundings-both physically and contently. This Layers sitting together occurs in the process of time, the time of genesis, and the time of reading the city as a text written on the Plaimpsest. Obviously, the thicker the historical layers, the more difficult it is to read the underlying language. Given this, the main question of this study is; how is it possible to regenerate an ancient narrative such as an urban landscape that has different layers and is difficult to read? To achieve this goal, authors use layered semiotics and discourse analysis as an analytical method, because urban signs are considered as the most basic criteria in the process of recognizing, pathologizing, and protecting the values of a city, due to their physical characteristics and contractual and social aspects attached to them. This method has achieved the narrative of the city, through the discourse that is the result of the connection between the different layers and periods of the city’s life, then new discourses have been created, and leads to reproduction of meaning, as a result, the signs have moved forward through the interaction with each other, and due to the dynamics of the signal flow, the texture/context is formed. Creating texture does not limit the city on a specific time-space frame, and moves in line with the development process, accepts changes, and at the same time stays connected to the previous network with its cryptographic connection.

In the second half of the nineteenth century, the world celebrated the attainments of the industry by establishing universal expositions. From 1867, each nation had to display its culture and architecture by erecting a pavilion. The presence of Iran’s pavilions in the universal expositions, especially in seven periods, from 1867 to 1913, brought new ideas about redefining architecture and reinterpreting architectural history. This event was synchronous with the vicissitude of political and social of the Qajar era in Iran. These pavilion structures reflect some crucial features to understand the historical contexts of Iranian Modern Architecture. This paper will discuss the influence of these pavilions on the genesis of Iranian Modern Architecture by addressing four issues: (1) Architecture and national identity: the form and the exterior façade of the pavilion structure had to reflect the Iranian identity, so the government tried to come up with an architecture that would show it well. Therefore, there was particular sensitivity in the relationship between architecture and national identity. Stressing on historical styles as a resource for demonstrating national identity found an important role. The issue that which style and historical works should be selected and exposed to visitors was a kind of a new challenge. The subject of national identity, after the defeat of Iran in the war with Russia, became more intense. During the Nasser al-din Shah reign and especially Mozaffar al-Din Shah and Mohammad Ali Shah eras (the time of these two kings coincided with the constitutional revaluation), the issue of national identity has been bound up with the materials of ancient Iran and has influenced the design of pavilions. (2) Architectural history: referring to the history and selecting the form and figure for designing pavilions was the other issue of the Qajar government. The attendance of French architects has helped this matter. This issue impacted Iranian architecture in small dimensions, but in an influential way. Howbeit, this subject was not so noticeable in the early pavilions, while it left its mark on the four Iranian pavilions from 1889 to 1913. This subject defined and framed a noteworthy and sensitive vision about historical periods of Iranian architecture. (3) Archaeology and ancient Iran: from Fath Ali Shah period, archeology has played a prominent role in Iran's relations with other states of Europe, especially France. Granting archeological excavation rights to foreign states (particularly Achaemenid and Sassanid territories) in Fars and Khuzestan, highlighted the glory of these eras and their palaces, and influenced not only the field of architecture but also the thought of the Qajar rulers. Using columns and arches of the pre-Islamic period, it has been able to find a steady place in the design of Iranian pavilions. (4) The discourse of Orientalism: the latter issue, which unfortunately has not been able to attract the attention of researchers in the analysis and scrutiny of modern Iranian architecture is Orientalism. Orientalism as a strong discourse in the second half of the nineteenth century had a great impact on political and social life and even the architecture of Iran. This issue is tractable in design of Iranian pavilions in the Qajar era.

Modernization in contemporary Iranian history has led to the emergence of European-style schools and the city of Isfahan. These schools differed from traditional schools in terms of the content of the lesson and architecture. At the end of the Qajar period and the Pahlavi era, the construction of schools was on the agenda due to the growing population of Iran and the government’s policy of slightly expanding schools for training a specialized force. Most of the previous studies on the architecture of Isfahan schools have been focused on traditional schools (Isfahan schools) and less attention has been paid to the architecture of contemporary schools in the above-mentioned and knowledge about the process of its formation is scarce.

The purpose of this study is to identify the historical, political, cultural and social factors influencing the modern schools in Isfahan in these periods and to understand the nature of architecture and to compare the physical structure and architecture of these schools with each other.

This case study is descriptive-analytical. Five schools were selected as case studies. Data on the history of the schools were gathered through relevant documents. Using field study, another set of data on these schools were collected then analyzed based on the aim of the study.

The most important factors in the shaping of new schools are the constitutional revolution, the role of the Pahlavi government and the desire of the government to create the style of antiquity, the evolution in the 19th and 20th centuries in Europe, and the change of the Western educational system and the construction of several European-like schools in Isfahan by French and English missionaries, the presence of native (Isfahani) architects in this city, and their desire to build traditional (Isfahani) style school architecture. Together, these factors have led to the creation of some kind of integrated architecture in the buildings of most Isfahan schools.

 The urban landscape of Zahedan is a multi-layered text in which different human, natural, and artificial layers are placed next to each other according to paradigmatic/ syntagmatic principles. Using a rhizomatic communication process and applying the negotiation and intra-code translation tool, these layers have created a meaningful complex. Due to their dialectical relationship with the development process, they have also obtained new identity characteristics, capabilities, and capacities in line with the previous paradigm since their emergence, regarding the changes resulted from the development and progress. But in the recent decades, due to the absence of negotiating and appropriate communicating with the city’s traditional codes, the development process as an “other” has disrupted its rhizomatic behavior and created a gap in the city’s coherent network. In this paradigm shift, today, the residents of Zahedan city are faced with a chaotic narrative and have relatively lost their sense of belonging and affiliation to the city.

The present study aims to present a solution to identify the urban landscape of Zahedan city during Pahlavi period. This is made possible by retrieval and reading of identification signs hidden in the city layers, using layered semiotics and generation method. Layered semiotics implies that the text of a city is gradually formed by encoding/decoding of the codes that are common in a group of humans, and become understandable in the same way.

The human layer in the urban landscape of Zahedan has emerged in the city fabric through the convergence of values, worldviews, and socio-cultural foundations that have been present since the formation of the initial city core up to date. The presence of different ethnicities and nationalities such as Sistani, Baluch, Birjandi, Kermani, Yazdi, Afghan, Pakistani, and Indian, each having different beliefs, religions and paradigms, has given a unique feature to the city. Various individuals of different nationalities in Zahedan city come from a context composed of other contexts in itself. Thereby, in the context of Zahedan city, we are in a fluid and dynamic network of habits that are rhizomatically interconnected and have formed a complex called Zahedan urban landscape. The artificial layer is a combination of different contexts derived from the diversity of human layer contexts. This means that the form of constructed buildings, type of materials, construction techniques, the use or loss of decorations and colors, spatial layout of public and residential spaces, and other factors in the urban landscape of Zahedan city during the First Pahlavi period result from at least three major contexts: 1) The “so-called modern” architecture and common way of thinking during the First Pahlavi period and during Reza Shah reforms; 2) The traditional architecture in desert areas of Iran adopted by people of Yazd and Kerman, observed in the city’s significant and prominent buildings; and 3) Vernacular architecture adopted by other residents including Baluch and Sistani, which is also derived from the cultures and subcultures of these people’s primary habitat. The people representing a context have an influence on the city, regarding their status and authority.

Considering the connection of rhizomes and the link between the codes existing at their connection points, changes occur in urban landscapes where some signs are found, changed, or demolished. The only solution for the survived signs is to maintain them in their status quo. In case the signs are deteriorated and completely disappeared, it is better to be recreate (reconstruct) or regenerate them by infill development, as long as the originality and ancient identity are not impaired. In this way, a new sign can act as a symbol of an old sign in the past times and be reminiscent of something lost/eliminated over time. There are also various solutions for dealing with corrupted or changed signs: if the sign changes are in line with the contemporary currents and discourses and at the same time adhere to the old signs and features of the original urban cultural landscape fabric, the signs can be conserved in the same state; and if the sign changes distort the meaning of the place or destroy its identity, the changed sign can be re-modified by another change in the existing discourse. In other words, a new discourse in line with the urban identity and at the same time in accordance to contemporary requirements can be created in latter case. In this way, the conservationist seeks to expand the frameworks through criticizing, translating, measuring the frameworks, and dealing with the “other”, thereby reproducing the distorted meaning by creating a link between the existing codes at different times; an intervention that can be resumed in the present time and changed over time. However, it is not aimed at reproducing or imitating the pre-existing patterns and signs; because, repeating the signs without linking them to their history, breaks the urban spatial-temporal integrity and undermines the concept of authenticity. Rather, it is meant to create a balanced relationship between the urban network and the changes that occurred due to the developments of these areas. So, the created change can conserve its meaning. In this way, the city regains its legibility through signs, regenerates its lost identity, simplifies its meaning and restores its identity easily.

Anything deemed as an object of historical study goes through changes with the passage of time. What historians do is partly to explain such changes, and periodization is a conceptual tool devised for this purpose. Periodization both reveals the historians’ position regarding the changes they perceive and the origins and results they assign to them, and shows how they understand their subject matter. In this paper, we have reviewed the body of the Iranian architectural historiography to determine how historians have used periodization to explain the formation of Iranian architecture; how their understanding of “architecture” and “Iranian architecture” affected the periodization they have used; and what consequences such periodization have on the historiography of Iranian architecture. This study reveals that the architectural histories have mainly borrowed from the periods already established in the field of the political history of Iran. The periodization reflect the major ruling dynasties in consecutive eras, and architectural historians have associated the works of architecture with their contemporary political context to the point that they have considered the state as the main force behind any significant change in architecture. Adopting the political criteria of periodization has lent historians a useful framework, but its dominance have made them oblivious to the possibility of alternative histories that could include more diverse works of architecture and offer different explanations. Architecture is a vast concept and historians of Iranian architecture have relied upon different definitions of it, such as a fine art, the embodiment of culture, the symbol of civilization, and the reflection of a nation’s spirit. These definitions have helped them to identify the periods of time in which apposite examples have emerged in the Iranian architecture. These periods are mostly similar in different historiographies; however, they cannot agree on periods earlier than Median and Achaemenid to mark the beginnings of Iranian architecture. They have also distinguished the works of architecture as “Iranian” by acknowledging specific properties in them; among which “continuity”, “monumentality”, “historical value”, and “aesthetic value” are recurrent themes. The idea of continuity has an important role in determining whether or not the more recent architectures, such as Qajar architecture could be considered a period of the historical architecture of Iran. The contemporary architecture has been also shaped around the idea of a period of discontinuity in otherwise continuous Iranian architecture. Current forms of periodization impose some limitations on how we understand the history of Iranian architecture. The cliché of 2500 years of Persian civilization, that has found its way into many architectural histories through the works of orientalists, leaves out long periods of our past as irrelevant or negligible. The political criteria of this periodization advocates the state as the main power that shapes architecture, thus historians tend to focus on the monuments, not the mundane, residential or rural architecture. It also prevents them from studying the works of architecture located in areas that are peripheral to a specific dynasty’s realm.

In interior spaces of offices, standard dimensions ensure that the spaces are dedicated fairly and effectively in accordance with practical needs of the job. If the office spaces would be designed and implemented in a calculated and effective way, this will lead to motivation, creativity, innovation and ease of working relationships among employees in addition to improving the efficiency and efficiency of the work space. A standard is a solution which guarantees consistency between planning and budget. Therefore, a controversial issue is that which parameters define the standard and which conditions lead to changes in standards in various societies. Hence this paper tries to descriptively review the reasons for differences in required dimensions of work places through the qualitative research, and explaining the importance of preparation of such standard using environmental psychology. This study leads to the description of components and indicates how standard dimensions should be presented quantitatively under a variety of classifications based on them. In the final section of the paper, the standard dimensions are evaluated in various cases to validate the studies carried out through comparative analysis. The geographic borders are used to select the statistical population and it is tried to choose at least one country from each continent. The results given in the table reveals the impact of studies in this paper. The data is collected through desk research and this study is based on a comparative-descriptive research methodology. The research findings provide a basis for understanding the effect of environmental factors in interior design. Among the issues related to environmental psychology, the underlying conditions include the urban environment (historical / modern), political conditions (planning design policies: personal ownership / leasing, building architecture regulations, type of work, administrative hierarchy), climatic conditions (natural light, rainfall, wind, ambient temperature, human dimensions), cultural conditions (human resources relationships, importance of employees, hierarchical / formal or informal hierarchy / emphasis or lack of emphasis on privacy and personal space, market conditions, emphasis or lack of emphasis on access to daylight and outward visibility), economic conditions (market conditions). These are the factors that lead to changes of standards in different countries and cultures. Among these effects, the following factors can be observed for the purpose of the abovementioned factors: buildings with low or high class floors, offices as traditional or remote place of work, planning an open or closed layout, spatial organization, building form, natural ventilation, combined systems due to environmental issues, electrical and mechanical systems, lighting supply, spatial arrangement, space usage per employee, methods of working, etc. In addition to the introduction of remarkable points in this regard, it is possible to consider environmental differences in various cities on a micro scale and enhance the efficiency and satisfaction of these spaces. Also, selection of compatible materials with codes and standards in each area is dependent on the design of the interior, which will confirm the design choices and the reliability of the work in terms of safety, environmental health and the wasting of the budget and the cost.

Education, obtaining and expanding it among religious minorities; particularly among Armenians, has attracted great interest in the present era. Due to the geographical situation and unique features of Isfahan on the one hand, and the existence of Jolfa Quarter and Armenians as well as other religious minorities on the other hand, this city has always been the center of attention by western countries and religious minorities outside Iran. The importance of conducting this research is that the beginning of developments in education and formation of modern contemporary schools in Isfahan has its roots in establishing Armenian and other Christians’ schools in this city and their precedence in this regard compared to Muslims’ schools. This research aims to carry out a contrastive survey of architecture in samples of Armenian schools in Jolfa Quarter of Isfahan with French missionaries’ schools in this city. The research method is descriptive-analytical-contrastive. The results obtained in this research are divided into two general sections. The first section is in relation to historical developments leading to the creation or establishment of schools. This section is itself subdivided into two groups: the first group includes factors or people who had a role in creating and forming modern Armenian schools in Jolfa. The role of churches, formation of renaissance in Europe, the relationship between Armenians inside Iran with European and East Asian countries through economic activities and financial support of Armenians inside and outside the country are included in this group. The second group comprises factors related to the creation and establishment of schools by western (French) missionaries. In this regard, the French government’s policy to expand its influence in Iran culturally and through religious teachings is among the most important factors. The second section is related to the stylistics of architecture of contemporary schools of religious minorities in Isfahan. The architectural style in these buildings is mostly a mixture of Iranian classical traditional architecture and western classical architecture.

Art of brickwork as an outstanding phenomenon in this land’s history of architecture is of a rich background and authenticity. This art which comes in various decorative and visual types، has always been present and accompanied by its undeniable identity. In contemporary era، in keeping with the legacy of this authenticity from the past، this art has collided with global and international contemporary architecture in the context of new expressions of embellishment and ornaments (from Neoclassic till modern era) which has created new and different shapes and visual expressions through this collision or this process of companionship، composition، combination and itsimpressionability. This has resulted in emerging of new forms of ornaments in contemporary architecture of Iran. The hypothesis states that the architecture of the First Pahlavi era 1299-1320 (1920-1941) has been of exceptional and astonishing existence in the field of decorative brick work and it seems as though these valuable decorative brickworks and the presence of Iranian master craftsmen and their manufacturers have been neglected and have not been regarded with the kindness and importance that they should have been bestowed upon in between the issues or the transformed architecture of this period. In other words the artistic presence of past generations and the role of artists and masters of traditional architecture can be traced and recognized in this 20 year period. This text is pursuing the processing and expressing of the fact that even though the decorative art of the brickwork in the contemporary era and especially in the First Pahlavi period had been collided with and influenced by modernization movement and modern architecture revolution (particularly primary modernism) and in other words in despite of variety in architecture styles، it has succeeded in creating a multitude of design compositions and a variety of patterns and forms. This as a distinguished method is unique and explanatory of an Iranian Art. This research، through qualitative research methods and then via citation and adaptation to 32 decorative works in 7 different fields of decorative functions which were placed in this era’s works of architecture with different functions and locations in various cities، has obtained results which indicate the amount of which the art of decorative brickwork has been under the impression of previous Islamic Iranian or classic Iranian and western works of architecture in its own process of decorative renovation، in First Pahlavi era، whether in design and pattern، or the combination of decorative materials and in context of different fields of architecture styles in this period (based on the schedule and presented diagrams). The majority of buildings and important worksin this period which are intertwined with the art of brick work were built in the years before 1313 (1934). This was the period in which the style of almost all the buildings were based on the artistic style of the Iranian، Islamic and ancient architecture. Gradually، with these years passing by and approaching modern architecture with the presence of other materials such as stone and cement، this style of architecture and art of brick work becomes scarce. However، this decorative art is still in use and has not been less of value to this day.

Interior design for decades that the system of higher education of Iran has been stagnate. In recent years it has been a mutation and transformation in attitude, but still no prosperity in developing training expertise in this field. The field that is most closely related to architecture and many of technical and artistic courses and interdisciplinary sciences. Object and purpose of this article is representing and then description need and urge for the opening and development course in "Bachelor" and the basis is the approval for expanding the council for the Ministry of science, research and technology to this point several years ago. Interior design has passed full transition period in the word. Years ago, almost there were no plans for interior design of colleges or universities, but little by little there were been changes took it and today seeing an active and reliable process in principals, practices, programs and education standards. Perhaps there is no specific ranking in education of interior design in different countries, but there are schools and colleges with completive grading methods and training facilities. Also, validity and credit of a school and its facilities, programs and educational styles are very important. This article reviews lessons and field, with their scheme, a comparative study with other universities in the Iran, the necessity of the formation and expansion of the field, the lacuna and vacuum in the range of artistic and architectural fields, the community needs to graduate academic experts and expression properties of this creative and innovative field. While trying reloading obstacles and problems, offering suggestions and strategies of teaching and education courses position at this point and especially in prestigious universities. Although the approach in the education system for graduate degree (M.A.) in of two prestigious universities and undergraduate institutions in several young and not so equipped and talented staff in recent years has been implemented, but the recovery position now needs to taken major universities. The position that was needed take as a field independent and not scattered years ago. History of interior design in Iran so far has not been classified as done. It is a large part of Iranian and Islamic architecture. Historical Background of interior design in old spaces and ancient buildings hase a clear and distinctive position. In the Iranian architectural heritage, all decorated designs, elements, ornaments, calligraphy, decorative brickworks, carvings anddecoration in wood and metal belong to interior design. The same view provides the appropriate opportunity for stablishing and developing interior design field in artistic universities of Iran. It can with coordination, integration, fulfillment and combining with modern interior design and architecture to create targeted area. Using teachers in various disciplines, development and implementation of the seriousness of art courses, technical, scientific and workshop, and many of the facts ignored, that is what this paper has concluded. Logical and efficient to get off the field right at this stage it is anticipated that students accepted for this string of talented people, be creative and curious, such as degree of architecture and its equivalent, with technical and artistic capabilities are.