mohammad ali kaynejad

Sound is one of the important factors in creating a good feeling in a mosque and it can play a role as a sensory medium to communicate spiritually with God. Therefore, the acoustic standards have defined the optimal level for the mosque in the field of various variables. In order to compare the acoustic conditions of the use of the mosque with the standard limits, the present research has carried out field measurements and software analysis of the standing position in order to simulate the prayer position. Form and volume are the two considered architectural parameters and Background Noise (BN), Reverberation Time (RT), and Sound Pressure Level (SPL) are the three acoustic variables of the study. A total number of 15 historical mosques in Tabriz are divided into three large, medium, and small volume categories and five form categories have been tested. The reference of the study is ISO3382-1 and ISO3382-2 and the measurements were made with B&K equipment. In addition to the direct achievements, the results have been adapted to international standards and show that the acoustic situation in the historical mosques of Tabriz, regardless of their volume and form, produces sound in the range of 60 to 90 phones, and in terms of RT, have the suitable design from the volume point of view, but the lack of carpet flooring in some of them has increased the RT. The background noise in these examples is less than NC-25, which provides a quiet space for the user and provides the necessary concentration for individual worship.

Paying attention to the sound quality of mosques is one of the architectural fundamentals of Islamic societies because the mosque is the most prominent ritual place of Islam, and speech and hearing are considered its main characteristics. In this research, the analysis of the most effective form in optimal sound quality was defined as the primary goal, and for this purpose, the historical mosques of Tabriz city were subjected to field analysis. The initial analysis of the samples from the perspective of the variables affecting the acoustics led to the selection of 15 samples in three volume categories and five form groups, in which the selected standards for measurement are 3382-1 and 3382-2, and the measurement equipment are the 2260 B&K investigator and the SINUS Acoustic Camera. Among the acoustic variables, Background Noise, Sound Pressure Level, and Reverberation Time were analyzed, and the results of field measurement led to the framework becoming the final goal of the study. The results of this study show that acoustic behavior in samples regardless of their size and form is almost similar, which is due to the components such as materials and their implementation, as well as the overall formal frame within mosques, which were considered the same to reduce the interventional variables. The second achievement, which is the result of a visual data collection of the quality of sound playback, identifies the mentioned components and shows that the reflection and propagation of sound in selected mosques are from architectural elements that are common in all samples and form the overall frame of space. These two achievements framed the final goal of the study in the form of determining acoustic identification for historical mosques in Tabriz.  The final result of this study is the analysis of data in MATLAB software which extracts the Background Noise, Sound Pressure Level, and Reverberation Time equation based on frequency in Tabriz historical mosques and spaces with a similar model.

Understanding the concept of space in the architecture of shrines requires understanding the meaning of space through multi-sensory perception. Therefore, this article seeks to explain the process of multi-sensory perception in the experience of pilgrimage and to answer the question "How is the understanding of space in places of pilgrimage?", it is a combination of fundamental and exploratory research, which was carried out qualitatively in two stages of theoretical and practical exploration. First, it collected library information in a descriptive-analytical way, and then continued in an exploratory way, with a phenomenological method, through a semi-structured interview of the pilgrims of Hazrat Reza's shrine with three central questions, until reaching theoretical saturation with snowball sampling. The interpretation of the text of the interviews was carried out by the Van Menen method with the three-stage Creswell coding pattern in an open, central and selective manner. In this way, the experience of pilgrimage is more emotional and it is only in the performance of rituals that meanings are placed on symbolic levels. Also, in the initial experiences, the visual senses alone are not enough, and other senses such as hearing or touch must help it; Unless a person with the mental schema of his past or others, can reach a meaning of the emotional level only with the help of the senses. In the meantime, the sense of touch as the most used senses in the sensory perceptions of pilgrimage after the ability to see and move is very effective and should be paid attention to.

Creativity has been a constant concern of artists and architects in different periods of history. Contemporary challenges and problems require new solutions that fit the requirements of current period. Knowing that the ultimate goal of architecture is to create a place for people to live, creativity in this field should also be directed towards enhancing the quality of human existence and addressing the evolving challenges of each period. Therefore, achieving a systematic model that allows assessing the creativity of the architectural works that introduces the influential components of this field, can solve many problems related to both human society and the environment. Such a model can also contribute significantly to the design of innovative and valuable architectural creations. In this study, a model for evaluating the creativity of architectural designs has been introduced, utilizing the SAPPhIRE method, adapting it to architectural contexts, and considering the authentic human environmental needs. This model takes into account multiple facets of architectural creativity and its compatibility with human well-being, ultimately quantifying the creativity level of each building with a specific numerical value. The model was applied to assess the creativity of LalehPark, Atlas, and Setarehbaran Commercial Buildings in Tabriz city, and the findings have been deliberated upon.

In this research, two research strategies have been used. At first, with the aim of providing a model to assess the creativity of architectural work, the Delphi research method has been used. The Delphi technique provides a convenient way for experts to reach consensus on a topic without face-to-face interaction. According to this method, in order to adapt and interpret the SAPPhIRE creativity assessment method with the architectural space, an open interview was conducted with architectural elites in the first stage. Next, every participant in the Delphi panel received a questionnaire and ranked and assigned scores to the summarized points derived from the initial phase. By specifying the desired components of the elite panel, the architectural creativity assessment model was completed. Then, with the aim of assessing the level of creativity of selected commercial buildings in Tabriz city, a survey strategy has been used with a quantitative approach. To achieve this objective, the approach involved distributing questionnaires to individuals who had firsthand experience residing in the designated areas, as well as conducting interviews with architects and experts in the field of architecture within the city. Finally, in the present research, after collecting information based on bibliographic studies and understanding the concepts and components of architectural creativity and establishing a logical connection between these components through the Delphi technique and using the opinions of experts, a model was provided for assessing the creativity of architectural works. The authors utilized the provided model to evaluate the creativity levels of LalehPark, Atlas, and Setarehbaran Commercial Buildings in Tabriz city. This assessment involved the completion of questionnaires and conducting interviews, and the subsequent compilation and presentation of the results. 

In most definitions of creativity, two main elements have been introduced for an architectural work to be recognized as creative, innovative and useful. The main benefit and purpose of architecture is to create a suitable environment for human life; therefore, the creativity of architectural works should also be realized in line with attention to human beings and their quality of life. It is not possible to provide human living environment without considering human needs. This is when architecture becomes important – it helps meet those needs in the environment. On the other hand, architectural creativity is valuable when it serves human life and responds to human needs. As a result, architectural creativity should focus on finding fresh and innovative ways to meet human needs in the environment. In this article, we introduced a model to assess the creativity of architectural designs by evaluating their ability to meet human needs within the environment (the benefit of architecture) and measuring the uniqueness of these solutions (architectural innovation). This model was used to assess the creativity of three commercial complexes: LalehPark, Atlas, and Setarehbaran Commercial Buildings. Our findings indicated that LalehPark scored 0.77 in terms of benefit, Atlas scored 0.71, and Setarehbaran scored 0.67. Regarding creativity, LalehPark scored 0.36, Atlas scored 0.35, and Setarehbaran scored 0.30. Consequently, the overall creativity ratings were as follows: LalehPark at 0.28, Atlas at 0.25, and Setarehbaran at 0.20.

Based on the test results, the foremost priority for users of commercial complexes is addressing their physical requirements. In these buildings, spiritual needs hold the least significance for users. Over the past decade, especially during the shopping mall trend in Tabriz city, designers and builders have taken these preferences of the public into account. By incorporating elements like spacious lobbies, enhanced spatial transparency, establishing visual connections between levels, and ensuring clear visibility of vertical access points from main areas, they have successfully created an environment contributing to creativity and meeting the physical needs of visitors. Simultaneously, the introduction of diverse amenities such as cinemas, food courts, amusement parks, and coffee shops has attracted a wide range of people from various age groups and societal backgrounds, leading to the prosperity of these complexes.

Creativity has been a constant concern for artists and architects throughout history. Many definitions of creativity have been proposed, and many buildings throughout history have been known to be creative or uncreative. In this regard, the main point is to judge and evaluate creativity. Because creativity and architecture are never evaluated in isolation from their context and society. Architecture as a cultural product, is generated by thought, it is the carrier of thought and the manifestation of thought in the form of a bedrock for human life. Knowing that the goal of any type of architecture is ultimately human life, any innovation in architecture, succeeds in a society only by considering the audience and the culture of the people. Thus the meanings, patterns, lifestyles and the culture of the people are essential in this sense, because without such things it would be impossible to understand any new and innovative solutions. In this article, while reviewing the various definitions and concepts that have been presented about culture and creativity of architecture, the analysis of how culture influences the understanding of creativity in architecture is discussed. Architectural creativity involves the presentation of a form, space, or environment that is both innovative and appropriate. Usefulness of the architectural space depends on its response to human requirements. The response to human requirements in the architectural space, which is a cultural issue, is made through environmental affordances. The affordances of something, are part of its properties which make it usable for a particular cerature or human. Environmental affordances can not meet human needs and be useful, unless they are understandable to humen. In other words, of the countless affordances available in the environment, human uses the "perceived affordances" by himself to meet his needs from the environment. These abilities correspond to the mental meanings of human. Therefore, the more meanings of the environmental affordances and the mental meanings of the users are compatible, that environment can meet more needs of the user and be more useful. On the other hand, the less similar the architectural form is to the previous architectural works, the more innovative the architectural work will be. In fact, architectural creativity can be considered to meet human needs from the architectural environment in a new way. According to the research findings, culture provides the Echr('39')tebariat for architectural action and creates the ground for producing architectural work. If an architectural work has affordances that match the meanings of users and meet their needs from architecture in a new way, that architecture creates new Echr('39')tebariat and is perceived as a creative work. On the other hand, architecture that is creatively perceived by people also affects their culture. This process continues in a rotating manner and forms the mechanism of the effect of culture on architecture. In this way, Echr('39')tebariat both affect the architectural action and, in the next stage, the creative work of architecture, and are influenced by them and hereby make themselves new and updated. Echr('39')tebariat also change the culture according to the conditions and characteristics of each era and social actions. In fact, culture, action and Echr('39')tebariat interact and exchange with each other in a rotating process. In this sense, culture is not a fixed and stagnant concept and is constantly changing and evolving.

Nowadays, urbanization is growing increasingly and cities are going to be more complicated than ever including local-global duality. On one hand, Cities are not limited to their geographical boundaries. Neoliberal globalization, which has been rapidly expanding since the late 1980s in the economic circle, places the world into a money game and cities into competition with each other. On the other hand, there are some influential forces on a local scale that determine the urban evolutions. Regarding these two global-local factors, non-powerful groups are neglected increasingly from urban transformation and main projects. This article reviews the “everyday life” concept in spaces through Lefebvre’s writings and draws its dimensions and criteria through descriptive- analytical study. How could everyday life be explained in the current architectural and urban transformation? Surely, Urban evolutions could affect everyday life. After that, it reviews the transformation of Valiasr intersection through historical- interpretation study. Valiasr intersection is the most important intersection in Tehran. It is considered as the spatial gap of Tehran, separating the “high status” and the “low status. Recently, an underpass project for pedestrians was built in this intersection. The results show that this urban transformation is mainly defined by administrational- status forces in the absence of social ones which mainly consider the economic- ideological aspects. It reduces social inclusion and social participation. Following that, this important project could not improve the everyday life of Tehran.

Knowledge and understanding of human nature and existential dimensions of man, guides individuals to control and direct their needs against diversity and rapid change of styles. Nowadays, art and architecture aim to satisfy public opinion. Diversification and complex forms are changing constantly to satisfy needs according to style, culture, taste, and current technology without considering their inner side, and what goes unnoticed here is attention to the contextof humanity which does not advance up to date and is always obsolete. Therefore, consideringhuman as both the containing totality of microcosm and the creator and user of the art piece,plays a significant role in the understanding and utility of variety of sciences, including architecture.On the other hand, ignoring this important role can createa gap between desires and true needs. Therefore, current article is shaped based on the following questions: What are human existence dimensions in the realm of epistemology? What have they got in common with design trends which are based on public preferences? And to what extent should the epistemological understanding of architects and consumersbe considered?
In present discussion, descriptive-explanatory method and logical reasoning is used.Viewpoints of intellectuals like Avicenna,MollaSadra, AzizuddinNasafi, Al-Kindi, and contemporaries such as Jersild, Bergson, Freud, Jung, MortezaMotahhari, and AllamehJa'farion dimensions of human existence were studied at the first step. A common view between all above-mentioned intellectuals point to a unique and immutable essence that propels human being towards innate, sustainable affairs and excellence. Since the transition of matter has become plural and diverse,this concept becomes invariant in the course of time, but under the impact of influential factors. Holy Quran, confirming this content and meaning, mentions "Disposition" as the main factor in pluralizing the unique essence of humankind. With the help of the recognition of this content, necessity of its role in architecture and urban planning- interpreted as the exhibition scene and defined by threefold classification of human role as subject, object and finally exhibition location. But the importance of public viewer and consumer, attention to preferences of individuals and giving authenticity to non-spiritual desires, leads authors to call it collective preferences approaches. For this reason, and to prevent confusion between human cognitive concepts and approaches based on collective preferences, different aspects of these two approaches are studied, which as a result will be distinguished from each other in four levels: time preference, common and social preference difference, commonality of collections and pluralism of desires. It should be mentioned that in this study, time preference refers to style and diversification in a certain time period,common and social difference deals with interpretation of the content of community(Gemeinschaft), and its larger part of society (Gesellschaft), and also the extent of its ethical and value-based content is specifics. In a smaller scale, commonality of collections refers to the placement of dissimilar values in a similar environment. Ampleness and endlessness of materialistic desires of individuals that can only summarize in pluralism is also the fourth used explanation of this study, which according to AllamehJa'fari, resembles a nonstop and flowing liquid. What we can see in the content of each of these explanations is the descent of inherent dignity of physical human which notes him to a plurality of items known as association and individualism. While, depending which side of the structure an individual architect or consumeris, the epistemological promotion will express its benefit to the individual in a way that the promotion of epistemological contexts of the consumerto himself and the his desires, strengthens the relationship between architect and consumer in expressing righteous desires. This study recognizing the environment, its effects and impressions as the preventionofits nurture and discusses that by banishing hidden libels in meaningless works,repetition will be prevented. On the above mentioned basis, researchers considered the utmost level of fulfilment of the righteous desires, dependent on gaining the cognitive knowledge of the consumer. In this view point, architect as the possessor of the technology and reminder of human values, comes to the scene where the consumer needs a reminder of his values, and the technology for implementing a work deserving his dignity. This procedure needs the enhancement of the cognitive background of the architect about self, consumer, work of art, and environment, and also the cognitive background of the consumer about self, environment and work of art as the most important cognitive elements that this study referred to. Priority of these factors in traditional architecture show that the necessityof gaining technique as learning tools was short and concise, but earning cognition was a permanent and never ending process.
Epistemological aspects of the microcosm, occasional researches on the application of cognitive sciences in art and technique and codification of strategies and solutions mentioned in the conclusion of this study could be considered as a new groundwork for future research.

The greatest architectural and urbanism upheaval of the Ilkhanate era is commonly agreed to be the development of such individual urban spaces and architectural constructions that had the sole purpose of introducing scientific information and religious beliefs to the society. These organizations often originated from and followed the aim of religious sites and the celestial leader’s graves and were commonly known as the “Abvab Al-berr” or greatness pathways. In this article، the unique architectural and urbanism characteristics related to the cities of the Ilkhanate era such as Ghazaniyeh، Rab’-e Rashidi and Soltaniyeh and their spatial qualities will be scrutinized. The survey is carried out by closely examining and analyzing the historical texts، deeds، scripts and documents at hand or detected while excavation throughout these complexes.