nayer tahoori

Fashion is an obvious embodiment of the cultural and social identity of any society, which is especially of great importance in the modern era. Today, fashion brands are presenting their designs by relying on existing drafts such as ancient archetypes, myths and political, social and cultural thoughts in order to attract the audience and increase popularity and sales. This research has been conducted to address fashion discourse and the question of how to influence the discourse system of society through fashion, relying on Yuri Lotman's Semiosphere Theory, to examine three advertising posters of Dior brand. To answer this question, the research hypothesis is: Fashion can influence the social system by using value structures and challenging discourse. The results indicate that fashion as a semiosphere can pass through its borders and filters from other semiospheres at different times with different thoughts, and it is affected and presents itself. Borders in the semiosphere like a permeable membrane can turn "foreign matter" into "familiar matter". In this research, it is shown that semiospheres with the same topics in different eras have different cultural meanings. In one era, they have a sacred archetypal and mythological concept, and in another era, they have the meaning of entertainment and astrology, while they are described as literary and artistic works in another era. Finally, they are rooted in a specific concept or thought, but they are considered as precursors of each other and find different semantic cues.

Architectural spaces are more effective than the architectural discourse would reasonably like to admit. It can even be argued that the atmospheric dimension of a built environment is the key to architectural quality. Atmosphere is one of the most important topics in conveying the sense of experience of place which has been given special attention by thinkers, philosophers and architectural thinkers in the last two decades. The type of this research is analytical and the research paradigm is interpretive up tp the phenomenology approach. It has a developmental aim and has fundamental characteristics. The method of collecting information is documentary and library. First, by using the content analysis method, the main concepts have been investigated and steps have been taken in order to check the understanding of the architectural space. In the first phase, the concept of atmosphere in the architectural space is examined, and then phenomenology is explained as the main basis for knowing and understanding the atmosphere of the space. Then, in the third phase, with the ideas of other architectural theorists related to the atmosphere, and in the fourth phase, the investigation and recognition of the effective factors in the atmosphere of the space based on the theories of architectural philosophers will be discussed.In conclusion, a list of factors affecting the understanding of the atmosphere based on the theories of thinkers and architects will be provided, and a list of gaps in this field will be provided for future research.

One of the most important and challenging issues in Orientalists’ research about art historiography is to investigate the nature and place of Eastern art in comparison with Western art, and how they interact with each other during different historical periods. Strzygowski and Pope were among the most prominent Western researchers who, in the early 20th century, investigated the evolution of Eastern art, focusing on Iranian art and its interactions with Western art. Considering that the views of these two researchers have had significant effects on Western and Iranian researchers in the field of art history, the recognition and analysis of these views is necessary to examine the evolution of Iranian art historiography. Therefore, in the present article, the views of these two Orientalists regarding the historiography of Eastern art are measured and compared with each other. This research is fundamental and theoretical, and a descriptive-analytical method has been used. Data collection in the current research was based on library research. The findings of this research show that the origin, method and approach as well as the sources used by these two researchers were not the same. The results of this research indicate that Strzygowski and Pope have paid attention to the independent and influential nature of Iranian art in comparison with Western art from two different perspectives. The special feature of Strzygowski’s point of view is its emphasis on the influence of the historical flow of Eastern art on the late ancient arts of Western Europe and medieval arts. On the other hand, Pope gives more importance to the examination of oriental art, focusing on Iranian art and emphasizing the formalist aesthetic aspects. Although Pope did not explicitly mention Strzygowski’s influence on his opinions, it seems that Strzygowski’s racial thoughts as well as his view on the role of immigration in the evolution of art history were the main basis of Pope’s view on the superiority of Iranian-Aryan art.

By studying Islamic wisdom texts and the prefaces of calligraphy treatises, one can understand that within the tradition of Islamic calligraphy education and training, individuals fundamentally regard art and every human profession and action as a pathway to achieving human perfection.In Islamic wisdom, the correlation between thought and action illustrates that knowledge derived from thought not only exists as a conceptual idea in the mind of a Muslim, but, when put into practice, it leads to the personal elevation and perfection of the individual. Thus, it differentiates knowledge from useless science, and action based on knowledge becomes the way for an individual's existential transformation towards perfection. However, in the Western world, particularly following the beginning of the Renaissance, wisdom was relegated to the realm of common rationality among humans. Consequently, the domain of rationality has been fragmented into separate unites. According to Kant's scientific tradition, the three faculties of knowledge, the feelings of pleasure and pain, and the faculty of will were respectively attributed to pure reason, judgment power, and practical reason. According to this view, art is arisen of feeling and is cognition with power judgment.In return, the foundations of traditional wisdom and its resurgence in the perennial contemporary philosophy’s school, is based in tradition, sacred knowledge, and spirituality. Viewed from this vantage point, the development of Islamic art and calligraphy, guided by non-historical and non-temporal principles, is influenced by the truth of religion and the essence of Islam. The prefaces and treatises on calligraphy education left by traditional calligraphers serve as evidence of this wisdom and spirituality. The art of calligraphy holds a special place among the numerous branches of art in the Islamic world. In the early 20th century, German researcher, Ernst Kuhnel, raised certain issues about Islamic calligraphy. It is necessary to analyze and critique his view with a different approach in order to separate the correct viewpoints from the incorrect ones, while avoiding the prevailing spirit of his thoughts. This can be done by explaining his thought in an organized framework. The purpose of this study is to analyze and to conduct explanatory critique of the position and importance of Islamic calligraphy from the views of Ernst Kuhnel. This study’s questions are that how has Kuhnel explained the relation between Islam, art, and the theoretical foundations of calligraphy? Furthermore, what are the differences and similarities between his views and what is mentioned in the treatises of various calligraphy periods?The research method is descriptive-analytical-critical. The method of gathering data is using library and documentary sources. The set works of the German Orientalist Ernst Kuhnel that specifically are his views about Islamic calligraphy have been gathered. Since some of Kuhnel's explanations about Islamic art include calligraphy, as a subcategory of Islamic art, his views about Islamic art are also to be discussed. Kuhnel's views about the meaning and spiritual nature of Islamic art and calligraphy have been analyzed and critiqued  with  critical view to the subject based on the prevalent insight of this research, the traditional wisdom of contemporary traditional philosophers. It is placed in the tables for comparison. Regarding the traditional critique, both the typical method of this attitude, and the treatises and educational prefaces of calligraphers are used as testimonies and justifications of the criticisms. The research finding indicates Kuhnel's views as a positivist researcher. Although he regards the art of Islamic calligraphy as being based on the Book of Revelation, the Holy Quran, he believes that Islam has limiting role on figurative art, consequently stimulating the growth of calligraphic art to prominence. He claims that the function of calligraphy primarily revolves around serving the power and preferences of rulers, under the influence of Islamic ideology. In return, in traditional philosophy’s view, while religious teachings may impose certain limitations on art, attributing ideology to Islam is considered a fallacy and serves as the source of other misconceptions in the interpretation of knowledge and art derived from its texts. Islam possesses a holistic nature and cannot be equated with human beliefs and solutions, nor can its precepts be extended to encompass those beliefs and solutions. The spiritual wisdom of Islam is manifested in the form and essence of calligraphic art. Unfortunately, due to the reduction of religion to the level of ideology, this crucial aspect has often been overlooked. It is evident from the treatises on calligraphy that the components of calligraphic art harbor a spiritual dimension, and its function is symbolic. The artist, through calligraphy, attains knowledge, pursues perfection, and embodies it within the art itself. Regrettably, this particular aspect seems to have been eluded in Kuhnel's studies, as he has overlooked the explicit emphasis on Islamic spirituality in the treatises of calligraphy.

The study and investigation of Islamic architecture with different ways of thinking, including traditionalism, historicism, and phenomenology, shows the importance of the subject from the view of Western researchers. Each of these schools of thought, while there are similarities between them, tries to express the results of their studies on Islamic architecture from their perspective. Paying attention to the difference of opinions of these views, while there are commonalities, raises these questions: How have each of these methods defined Islamic architecture? How does the difference in their reading style in understanding Islamic architecture help to understand the subject? The present study, with a comparative study of two methods of phenomenology and historicism about Islamic architecture, focusing on the opinions of Henri Stierlin and Oleg Grabar, seeks to show how each of these two views has defined Islamic architecture, and what are their similarities and differences between them? From the perspective of phenomenologists, the works of Islamic art originate from a special world that is characterized by religious teachings; A world where monotheism, supernatural and divine worlds, and religious and spiritual concepts are among its most essential elements. Historicists think of Islamic art and architecture as a historical thing that is analyzed by examining the time of occurrence and the factors (social, political, etc.) before and after it, and present a worldly and non-mystical analysis of these works. Assuming that each of Henri Stierlin's phenomenological and Oleg Grabar's historicism approaches provides a different definition of the relationship between Islam and architecture, the findings of the research show that despite the fact that Grabar pays attention to the Qur'an and the tradition of the Prophet and mentions Islam and its effects as a cultural component along with historical, political, regional ones, but from his point of view, Islamic art is an art that has nothing to do with the religion of Islam, and the relationship between Islam and art and architecture does not have a special meaning from a religious point of view. He avoids attributing symbolic religious meanings to Islamic architectural works, without relying on evidence, place and time, and only relying on theoretical discussion. While Stierlin tries to find the relationship between Islamic works and eternal truths with a meta-historical and semantic view. He considers Islamic art and architecture to be derived from the essence and teachings of Islam and considers the religious component to be the factor in the formation of the mosque building that most of its elements have a symbolic and eternal nature. Both researchers believe that Islamic art and architecture have been influenced by the elements of other civilizations. However, their disagreement is about how these elements accept the new meaning. Grabar considers the acceptance of a new meaning by being placed in a new context. While Stierlin considers the acceptance of a new meaning under the influence of Islamic religion and beliefs. The current research, using a descriptive-analytical method with a comparative approach, has studied formative elements and components of the mosque from the phenomenological point of view of Henri Stierlin and the historicism of Oleg Grabar.

Along with the evolution of theories about the architectural design process, the creation of the concept as an important part of this complex process has always been considered in design research. Therefore, it is necessary to teach architectural conceptualization in parallel with the teaching of design skills and architectural knowledge. Although significant research has been conducted in this field, it is not sufficient to apply the design process in accordance with the necessary skills of the architectural profession. From an interdisciplinary way, this research attempts to improve the quality of the architectural design process with reference to conceptual metaphors in a mixed approach. In the qualitative part, based on the analysis of scientific sources and logical reasoning, 4 components of searching for mental concepts, identifying and choosing concepts, matching the architectural concept with selected concepts and developing the concept form the conceptual structure of the research. Then, based on this structure, an exercise was implemented in the 3rd architectural workshop and evaluated by three expert judges. Data was analyzed quantitatively by independent t-test method and SPSS software version 26. The findings showed that using conceptual metaphors in the teaching of the architectural design process is beneficial, and this mental shift from architecture to literature has a meaningful relationship with the quality of the design process. The results of the research confirm that the proposed method is significantly effective both in structuring the design problem and in achieving a concept that fits the 4 mentioned components.

Fashion is a global industry that pollutes the environment by using natural resources. Sustainable fashion is a solution to deal with the environmental risks of the fashion industry, with the aim of preventing the waste of resources in the production and consumption sectors. The data of applied and descriptive-analytical study are collected through library research, are analyzed based on semantic semiotic approach of discourse in light of Jacques Fontaine's theory of transparency and prosthesis and Landowski’s adaptation system. The main issue is to see how fashion can create the conditions for a discourse that allows the transition from a system of destruction to an ideal system of the environment. Based on this, seven examples of brand activities have been purposefully selected and examined in terms of environmental sustainability and transparency. The results show that stimuli such as celebrities and environmentalists with their actions are able to create a desirable discourse system. It is suggested that governments and the private sectors establish companies to collect old textiles using the theory of transparency and adaptation and explanation of fashion prostheses and their relationship in the sustainable fashion industry, and  protect the environment as well as contribute to job creation.

Isfahan's Chaharbagh School-Mosque is considered as a valuable relic of the art and architecture of the Safavid era, which has preserved its splendor after more than three centuries. Knowing the basics and principles used in the design and construction of this building and the arrangements thought for its social and historical meaning can be a model for today's architecture, in order to achieve excellence in terms of form and meaning. The purpose of the current research is to explain and analyzing the various aspects of stability and reliability of this building and to discover its unique physical and spatial features. The mentioned research is descriptive-analytical in terms of method, and data collection has been done in documentary and field form. For this purpose, the climatic, social, economic, historical and aesthetic aspects are analyzed and evaluated in a qualitative way, taking into account the physical, semantic and spiritual characteristics of the building. The results show that the building of the Chaharbagh School mosque not only considered the climatic characteristics from an environmental point of view to provide a pleasant environment compatible with the surrounding nature, but it was also socially and economically stable. The use of Islamic art in the arrays of covering surfaces has made the building beautiful in terms of beauty. In such a way that you can see a dynamic and lasting treasure of art and architecture in it.

The sun as a mysterious and magnificent element has had several symbols and still has which due to its respect and sanctity among different religions has always contained different meanings and symbolic patterns. The sun and its other relevant symbols in religions like Zoroaster's and Christianity because of being influenced by "Mehr" religion (Mitraism) has had a lot of changes over time. Since there was a close relationship between Sassanids and Byzantine emperor, this study tends to consider visual and conceptual similarities and differences of this icon, the sun, in Zoroaster's and Christianity in Byzantine emperor based on a comparative study on those religions, this result can be inferred that in Iran “Mehr” known as “Goddess sun” and in Christianity was just considered as “God the sun”. The sun has been sacred and respectful in Zoroaster's and Christianity, and its origin goes back to mythological periods importance of worshipping this resuscitative element and its similarities to IzadMehr (God) has caused gradually to be considered the some, but due to oppositions from Sassanids against Mehr. Customs adopted from Mehr religion were included in Zoroaster's religion nothing was mentioned about Mehr. Since then this religion under the named of “Mitraism” and many other sun elements and symbols like cross, light, halo with different patterns penetrated in Christianity. Hence, similarities in Sun’s symbolic patterns and shapes existing both religions and differences as well which mostly belong to concepts, customs and traditions in both religions. This study has been done based on library and document any method.

The art of bedding is one of the Iranian arts that have been popular in Iranian architecture for a long time .Plaster molding patterns in the architecture of historical houses, at first glance, have a decorative aspect and express a visual beauty, but a deep look at these motifsreveals their inner and symbolic meanings. The variety used in the plaster molding of Boroujerdi House is very remarkable and expresses Islamic-Iranian values of its time in Kashan. The main objectives of this study are to identify and to determine the typology of plaster molding patterns of Boroujerdi House as well as to understand their inner symbolic meanings. Accordingly, the main questions of the research are: 1) what are the types of plaster molding designs in Boroujerdi House? 2) What are the symbolic meanings of the designs used in them? The results show that these patterns, which include plants, human figures, animals, and supernatural beings, sometimes imply mythical and sacred symbolic meanings. The research method is descriptive-analytical and involved field studies as well as library studies; hence, first the accurate and appropriate imaging of the beds was done, and then based on the library studies, each role was analyzed and examined semantically. In this route, through graphic software, the position of each role is specified on the house architectural plan map as well as on the images.

The studies on contemporary architecture based on the scientific or positivist methods are mostly expanded on measurable quantitative, not able to achieve the qualitative dimensions and hidden meanings of phenomena in perception of space. The studied phenomena in this field are based on the user experience about the space and creation of its memories in his/her mind that are seen in many architectural studies. So, it is important to replace a new alternative method with the old positivistic approaches in architectural studies. One of the alternatives in this field is phenomenological research method. The present qualitative research, by descriptive-analytical method, attempted first to explain the phenomenological research methodology and then determine the nature of this method, different types of it, and its applications for study the perception of space in contemporary architecture. Later, the first-person, existential and hermeneutic methods of phenomenology were explained. Finally, the results of discussion showed that phenomenological research methods study the true essence of the things and follow inter subjectivity support of the studied phenomenon and this leads to the deep understanding of some phenomena such as perception of space.

Phenomenology as one of the philosophical fields of the twentieth century, was used in the last decades of this century as an effective approach to better understanding in architectural theorizing. The present study examines the viewpoints of Juhani Pallasmaa and Steven Holl through their key concepts, with the aim of showing the commonalities and differences of their views and explaining more clearly the method of architectural phenomenology. The results of the study reveal that under the influence of Maurice Merleau-Ponty, the multi-sensory and embodied perception of architecture is a key common concept to the theories of this two architects. The critique of retinal architecture, the focus on touch and tactility, memory and imagination, silence and slowness in Pallasmaa’s theories, are in line with the concepts of light, colors, parallax, and duration in Holl’s theories. On the other hand, although form is one of the themes of Steven Holl’s theories, Juhani Pallasmaa emphasizes the non-priority of form in architecture by proposing the concept of atmosphere. The present research has been done qualitatively by descriptive-analytical method.

The text is focused on Martin Heidegger’s phenomenological thought that influenced some of the Western architects who established a new style called Post- Modern Architecture. Referring to poetic thought of the great German poets, Heidegger called poetry as the best way of thinking. Aspiration of Holderlin’s poem: “poetically man dwells,” led him to the “poetic dwelling” idea of human existence. Heidegger’s approach to art and architecture considered a special role for language and poetry in perception of environment. The impact of his phenomenological method on the two pioneers of Post-Modern architecture, Christian Norberg-Schulz and Christopher Alexander, made some new ways in architectural design. They submit “phenomenon of place” to solve the problem of “Identity” in architecture, which was rejected completely in Modern architecture under the name of International Style.
Here, the phenomenology method is used as the study approach on Heidegger’s philosophy and its influences on architectural theories of Post- Modern Architecture. The goal is to show that architectural identity, deeply depends on every building’s context and its raising up ground.

The present study focuses on the impact of technology on German's contemporary architecture, concentrating on the BMW's museum construction. The researchers' approach is descriptive analytic resulting in what defines modern architecture of BMW museum as technology. In fact, studying the impact of industry on building and architecture, industrial revolution and technology and production becoming mechanical have proved the role of technology in “nature” and “form” of architecture. Applying modern technology on the construction of automobile museum buildings, Germans proved, all over the world, their scientific, political and industrial achievements as the most developed country in Europe. The form of these buildings shows new characteristics and a hormonal flexibility with industry and technology as a result of technology improvements. The changes in constructing process, manufacturing, material usage and building systems enable architecture to shape new spaces in accordance with “styles of lives”, and create desirable places to show the attitude of modern man and his achievements. In other words, man can possess a better and more profound understanding of the world by using the forms which enjoy modern technology.

Associating certain forms and designs in Islamic Arts with the promised Heaven may be widely observed in the works of many historians and critics of the field. It is believed that Islamic Art has been derived from the imagination of the Paradise as depicted in Holy Quran. To express this meaning in technical words it should be said that the main concept in Islamic Arts has been the gardens of heaven generally described as containing the green trees (the tree of life), colorful flowers, flowing rivers, the ethereal drinks and foods, and even Huries (beautiful young virgins dressing in green fine silk) at the service of those who are permitted to meet God.