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Examining the specific characteristics of various attributes and derivatives of the landscape is among the most important topics in the field of landscape study. The term “Persian landscape” refers to specific aspects of it that naturally possess unique features. Despite the significant importance of understanding the meaning and concept of the Persian landscape, its examples and instances are often referenced instead, while its essence and nature are overlooked. This has led to a multiplicity of meanings, causing various and sometimes inconsistent interpretations to arise. In the present study, an ontological approach is taken to delve into the essence and core concept of the Persian landscape, aiming to clarify its dimensions and constituent elements, and to refine this concept fundamentally. To explain the concept of the Persian landscape, this study employs an analytical-descriptive and documentary method. Initially, the constituent elements of the landscape were identified and introduced. Subsequently, the identity-giving components were examined to discuss their Persian characteristics. Accordingly, the Persian nature of the landscape is dependent on the existence and impact of natural and artificial elements with national identity, each encompassing a set of Persian identity-giving aspects. Additionally, the Persian-cultured human is recognized as an element with the highest capacity to manifest Persian identity in the creation of the landscape.

Influenced by the prevailing understanding of architecture, we take the relationship between humans and architecture for granted, but this understanding has also obscured some aspects of this relationship. In this research, we have studied the relationship between humans and architecture based on the philosophy of Seyed Mohammad Hossein Tabatabai. The main question of this research is: ‘What is the relationship between humans and architecture if we look at the world from Tabatabai’s philosophical point of view’. Until now, previous researches have never considered architecture or the relationship between humans and architecture from this point of view and based on these theoretical foundations. The only relevant example is this author’s doctoral dissertation entitled Architectural History as Knowledge, in which Tabatabai’s theoretical apparatus was used to clarify the relationship between architecture and history and to understand what architectural history is.

The research is non-quantitative with its main method and strategy being rational reasoning, based on Tabatabai’s method and philosophical research methodologies. Nevertheless, the thematic analysis method is also used for exploring the theoretical foundations of the research and extracting main concepts from the mentioned philosophical sources and explaining them. We have first clarified the main terms of the discussion, that is, the meaning of ‘human’ and ‘architecture as a human practice’. Then we have introduced a part of Tabatabai’s theoretical system which includes his philosophical worldview and the relationship between humans and their practices. We have then tried to explain the concept of architecture in terms of Tabatabai’s way of looking at the world. Finally, we have described the relationship between humans and architecture from the perspective of Tabatabai philosophy.

The research shows that in Tabatabai’s worldview, firstly, architecture is among human crafts, one of the possible movements (Harkat) in the world, and secondly, whenever humans engage in architecture, whilst manipulating the world’s materiality, they also change themselves; at the same time establish something in the material world, they also build their own souls and accumulate knowledge, and in this way attain perfection.

In any era or place, humans cannot ignore beauty and art. The explanation of art has always been intertwined with humanity, evident from the earliest days of history through artistic works in cave decorations, buildings, and interior design. Hekmat-e Honar, or the wisdom of art, signifies a deep connection that art shares with philosophical, human, and life concepts. Art can convey values, ideas, and human experiences in diverse forms, deepening human emotions, thoughts, and understanding. The importance of art is selfevident across societies, resonating with the varied perspectives of individuals. Art's impact on social thoughts and life has attracted various sectors, including architecture, environmental design, interior architecture, and even philosophy. The role of art in shaping different aspects of human life is fundamental and unparalleled in human history. These dimensions are thoroughly examined and critically evaluated in this research, addressing questions about art and its purpose. The descriptive-analytical method is employed for the research, effectively gathering information and analyzing data from library sources and written documents. Therefore, this research aims to provide a broader perspective on the extensive issue of art's role in interior architecture and its relationship with related arts. Art serves as a unique tool for understanding other creations and maintains an inseparable connection with human thoughts across historical periods.

In recent decades, following changes in various social, cultural, economic and political fields, various types of housing have been formed. In this regard, social housing is one of the forms of responding to housing needs. Social housing is a housing that prevents the formation of social harms and creates social cohesion in the society with the possibility of mixing. Due to the fact that in Iran, the design of this type of housing proceeds with a comprehensive view, it seems necessary to realize housing with a semantic approach, due to the increasing expansion of low-quality settlements in cities, so that in such settlements it can be designed spaces according to human needs. The purpose of this article is to return to the concept of residence and explain its hidden dimensions in social housing with a semantic approach and in order to achieve design policies in order to improve the quality of this type of housing. This article is done with a qualitative approach and qualitative content analysis method in the field of architecture. Data have been collected using the consensus of three methods (library studies, observation and interview). Next, the obtained data were analyzed in the MAXQDA20 software environment, then using coding, the data were converted into concepts, categories, and then into aspects. According to the studies, four aspects including physical-structural, social-cultural, perceptual-aesthetic and environmental are the hidden aspects of living in social housing, each of which refers to a meaning of human needs. In this way, when a person can settle in a place in the real sense, that place is beyond the attention to the quantitative aspect, a representation of the attention to the aspects of his existence, which is the physical-spiritual, social, spiritual and psychological aspect, to all aspects. to meet his various needs

When a person is confronted with an artwork, he speaks to it, reads it to himself, and achieves a degree of understanding and interpreting of it. Different thinkers and philosophers have offered different theories about this understanding and interpreting and what it is, and how to achieve it. The scope of these theories can be considered as a subset of two ways of thinking, namely structuralism and hermeneutics in philosophy and humanities. Structuralism seeks to methodize the understanding and interpreting of social and cultural phenomena and resorts to linguistics and semiotics through structures and patterns. Structuralisms speak with confidence and certainty about scientific methods that will lead to achieving the final, ultimate, absolute, definitive, comprehensive and complete interpreting of everything, including the art works. Hermeneutics is also known as the science of understanding, human works, and interpretation of texts. Hermeneutics also deals with the study of interpreting, human works, and the interpretation of texts. If we consider two different forms for hermeneutics, the first form is traditional hermeneutics, which follows the theories of biblical interpretation. It was founded on the ideas of thinkers such as Schleiermacher and Dilthey. The second form is contemporary or philosophical hermeneutics, which deals with the theories of Martin Heidegger and Hans-Georg Gadamer. Gadamer's philosophical hermeneutics deals with the study and philosophical exploration of interpreting and the necessary conditions for it. Therefore, there are different perspectives that discuss how to interpret the artworks. This study discusses how man interpret the artworks from the perspective of the contemporary hermeneutics of Hans-Georg Gadamer. Therefore, this research seeks to answer the question of how man achieves an interpretation of artworks. The aim of the current research is to understand how to interpret art works from Gadamer's point of view. The current research is "fundamental-theoretical" in terms of purpose and is presented as "interpretive-analytical" in terms of nature and method, and "library" is term of data collection method, and in terms of analysis method is "qualitative". After studying the methods that are used in qualitative research for data analysis, the phenomenological method was chosen with the approach of interpretive phenomenology or hermeneutic phenomenology, which was the most relevant for the nature of the research. This method is one of the most famous contemporary philosophies, which claims to interpret concepts in order to penetrate them. Therefore, in this research, we will also doubt all the past existing interpreting of art works and once again we will examine everything by the phenomenological method and from the perspective of Gadamer's philosophical hermeneutics. Therefore, it first examines the concepts of "artwork", "man", and "interpretation" and its relation to understanding and Hermeneutics, and then examines how man interpret the art works from Gadamer's perspective. In concept of "artwork", the research explained what art is, its relationship with techne, technology and aesthetics, and pointed out the reduction of the study of art to aesthetics in the Renaissance era and after. Also, the discussion about "man" and his position and dignity started from the Renaissance era and a fundamental change in the worldview of man. Man turned from heaven to earth. In other words, the human intellectual world gradually broke away from the values and thoughts with a supernatural orientation and turned to the thoughts and values related to the natural world and human life. As a result of Cartesian thinking, man was placed in the center and reached a new interpreting of concepts such as art and art works. Art was reduced to having a pleasant and artistic pleasure. And paying attention to instrumental and calculating reason, natural sciences, and scientific methods leads man to dominate nature, But Heidegger and Gadamer deny the thinking of their contemporaries. In concepts of "interpretation" and its relation to understanding and Hermeneutics, the existing translations of hermeneutics in Persian language were referred to and finally the differences of opinion regarding the translation of this word were ignored and the meaning of "to interpret" was considered for this word.
With these prerequisites, the research focused on the interpreting of art works from Gadamer's point of view. Gadamer's view on how to interpret an artwork summarized in seven key points:First point: man interpreting of an artwork is not an immutable, final, comprehensive, and complete interpreting; because man is always navigating this path and every time new ways appear in this path. Man, as an interpreter of artwork, will receive a manifestation of the truth of artwork at any point in time. Therefore, reaching certainty and a definitive answer has no place in interpreting the artwork in philosophical hermeneutics. From Gadamer's point of view, there cannot be a superior interpreting of artwork, and interpreting the artwork is an endless process and cannot be predicted.
Second point: interpreting the artwork is in many ways related to the concept of the game. These include going beyond the usual experience, understanding their rules and surrendering to it, having an uncertain end, and not being instrumental.
Third point: The artwork does not always have the same meaning, there are always different and multiple interpretations of an artwork, and different interpreters may provide different interpretations of the artwork. These interpretations will be different depending on the time horizon, historical perception of the interpreter and the relationship and interaction between the artwork and its interpreter. The endless number of interpretations of an artwork is possible and natural.
Fourth point: The mental background and previous knowledge of the interpreter of the artwork has a significant impact on his interpreting of the art work. The combination of beliefs, traditions, and perceptions that man inherits from his ancestral culture, society, and religion makes his interpreting.
These factors create a mentality for the interpreter of artwork in order to start a conversation with the artwork. When the interpreter encounters an artwork, his understanding and orientation towards that artwork is influenced by the totality of cultures and traditions that encompass his life and to which the interpreter belongs.
Fifth point: interpreting of artwork also occurs when a person penetrates into the language. In other words, interacting with the artwork leads to its interpretation. The interpreter of art work must first understand the language of art work, and a dialogue takes place between the interpreter and the art work. As a result, a common language is obtained. And interpreting comes from this common language.
Sixth point: interpreting of artwork is achieved through the hermeneutic cycle and questions and answers between the artwork and its audience.Seventh point: The time lag between the art work and the interpreter challenges the interpretation of it. Paying attention to the history of the artwork causes the emergence of a common language between the interpreter and the artwork and better interpreting.
In short, in the hermeneutic interpreting of the artwork, Gadamer proposes the absence of an unchangeable, comprehensive, complete, and final interpreting of the artwork. He proposes the entry of man into the artistic game. He points to the existence of different and multiple interpretations of artwork. He considers the mental background and prior knowledge of the interpreter to be an important point in interpreting the artwork. He finds the artwork in dialogue and conversation with man. He also considers the interpreting of artwork to be dependent on the understanding of the language of artwork. He interprets reaching a common language as a hermeneutic round.  And finally, he introduces attention to time and history in interpreting artwork.

Personalization of various aspects of architectural designs is one of the newest topics in the modern world. In this regard, it is important to know the human and the characteristics of his living environment and how to establish the relationship between these two factors.The purpose of this research is to analyze and describe this relationship with a qualitative method and by relying on documentary-library studies with the aim of preparing a comprehensive design guide based on Jung's personality types; Therefore, first the theory of Jung's personality types is described and discussed Then, looking at the concept of territory, seclusion and personalized space in housing, the needs of the individual, including environmental needs, based on psychological characteristics have been analyzed; Because personalized territories increase the sense of belonging to the place and give identity to residential units. In the following, environmental design strategies are extracted and based on environmental indicators taken from the the basic theory, environmental solutions for territory personalization are presented, which can be used as a guide for designers to design the environment based on the personality types of Jung's theory.

Research Problem: 

Throughout the history of architecture, the relationship between human and architecture has been discussed from various points of view. An important part of architectural theoreticians have specifically focused attention on humans, however, the difference in the way of looking at humans has led to the formation of different types of architecture. In fact, it seems that the category of architecture has undergone fundamental changes in the history of architecture in accordance with the way of looking at man and his way of life. In fact, whenever there is no correct understanding of human, and the definition of him has been based on contemporary partial views, or when there is no correct and comprehensive view of man, or for different reasons, human has been in one of the dimensions , architecture has not been able to give an adequate answer to human existence. In fact, whenever factors and categories other than basic human needs define the nature of architecture, architecture is in trouble. In this regard, this study is based on the premise that architecture is formed as a platform for human life, in proportion to his way of being and living and in response to his basic needs. Therefore, it is necessary to deal with the quality of man and his ontological characteristics in order to achieve architecture in proportion to human. For this purpose, we specifically went to the reading of Heidegger's texts, a thinker who has a different view on the category of being and art and It has always been of interest to artists and architectures. A thinker who specifically raises the question of human existence and answers it in concrete research.Research Question: This research wants to answer these two questions. What are the ontological characteristics of Dasein from Heidegger's point of view? And what are the aspects of architecture in accordance with the ontological foundations of Dasein from Heidegger's point of view?

This research is a fundamental research from the point of view of the goal; And in the interprative paradigm, it seeks our deeper knowledge and understanding of the relationship between man and architecture. For this purpose, we have tried to interpret Heidegger's texts about man in the form of a qualitative approach and using the hermeneutic theoretical base.

From the point of view of this research, and in accordance with the ontological characteristics of human from Heidegger's point of view, architecture should respond to the five concepts of dynamic, contemplation, continuity, interaction and identity. Architecture, when it wants to be formed in proportion to humans; As Heidegger interprets; It has a dynamic nature that is realized through diversity and the possibility of change over time. This architecture has a close connection with its past and historical tradition. Identity is another facet of this architecture. Architecture should respond to what a place is over time. Another aspect of this architecture is the coexistence of two concepts of interaction and solitude. Therefore, this architecture should provide us with solitude for human reflection and thinking, as well as provide us with a ground for love and friendship with others.

In Manichaean paintings, the presence and role of man are very prominent. Manichaeans had special methods and principles for designing human faces; by borrowing from the faces of different lands and nations and integrating them with the imagination of his mind, Manichaean artists have tried to create different faces with different execution methods. Like Manichaean paintings, humans have an active presence in the paintings of early Islam, and the painters continued Manichaean’s way and method of drawing human portraits. Although there have been some changes in the portraiture of early Islam, the overall shape and features of the facial parts and, in some cases, the clothing of the figures, are the same as in the Manichean art style. This study tries to answer these questions: Manichean portraiture is influenced by the faces of which lands and nations, and what are its characteristics? What was the reason for drawing identical faces in Manichaean paintings? What features of the face and clothing of Manichaean paintings can be seen in the paintings of early Islam? The purpose of this study is to explore the characteristics of the face and clothing in Manichaean paintings and examine their similarities and differences with those of the Abbasid (Baghdad School), Samani, Ghaznavid, and Seljuk eras. The present study was done using a library-documentary study with a descriptive-analytical approach and a comparative approach. This study is of great importance because it raises new issues and makes new claims in terms of the stylistics of the art of painting in finding the origin of the art of painting and portraiture in early Islam (the Abbasid (Baghdad School), Samani, Ghaznavid, and Seljuq eras). Hence, this study aims to prove this hypothesis that the painting of early Islam was strongly and significantly influenced by the Manichaean style of portraiture. The results indicated that characteristics such as drawing identical faces, three-side angulation and oval shape of the face, lack of shading and simulating volume, small and elongated eyes, linear and slightly curved eyebrows, a small mouth and lips, a straight or arched nose, and hair arranged on the forehead are among the main characteristics of Manichaean portraiture, which were also used in the portraiture of early Islamic eras.

There exist various intentions and goals behind the creation experience of a work of art. And of the most important among them is utilization of the artistic instinct to express emotions to the audience through the sublime. This capability which is inherent in art and the creation process has always been a source of inspiration for Sigmund Freud, the prominent Austrian psychoanalyst in the 20th century. Sigmund Freud’s theories on human psyche and its mechanisms have been an important source for the psychological and artistic studies to this day. According to Freud’s studies, it is not just the forefront and obvious part of the human psyche that directs the manifestation of behavior, but that there lies a hidden depth beyond the obvious, not easily accessible, that is also the source. Understanding this hidden depth is not only important, but also according to him, most of the human expressions stem from this part. He also believes that the creation process of a work of art is a manifestation of this hidden depth, which he calls the unconscious. He believed that there are similarities between established processes of psychological treatments to understand and access the unconscious, such as free association, slip of the tongue, or hypnotism, and the particulars of a work of art; according to him art was a window to the artist’s psyche and unconscious.Freud’s studies on the unconscious, lead him to theories about the essence and origin of instincts, their place in human psyche, and their role in the manifestation of expressions and behavior.  According to Sigmund Freud's theory of instincts, all human behaviors originate from the confrontation and conflict between two fundamental instincts, Eros and Thanatos; Eros as the symbol of life and creation, and Thanatos as the symbol of death and destruction. Since he believed that this conflict exists in the unconscious, the unconscious can be considered the arena for this eternal battle between creation and destruction, Eros and Thanatos.In the present study, first Freud’s established pattern of the psyche is introduced; since understanding this pattern is fundamental to the understanding of his other theories. Then his theories of parapsychology are discussed, including his views on the psychic energy, the interaction between internal forces in human psyche, the origin of pleasure and deferred gratification, and the function of instincts, in order to establish a study frame, to offer new perspectives on the Scottish contemporary artist Ken Currie's paintings, and his interpretation of man in different periods of his career. The focal point of this study is the evolution of this artist’s interpretation of man, and man in relation to the external world. How is the conflict between instincts manifests in Currie’s works? What aspects of human existence are expressed? This study implements the descriptive-analytical method, using library and online sources. No previous study has been conducted on Ken Currie’s works in Farsi resources, even though his interpretation of man and man’s interaction with his environment is quite noteworthy and significant, so a better introduction and comprehension of his works is a necessity. The hypothesis is that the artist in order to criticize the humanity that has gone through two consecutive and devastating world wars, is inclined to reflect a world deprived of value and credibility, a world filled with discrimination, that despite reaching the heights of civilization and achievements is drowned in despair and destitution. The goal is to discuss the manifestations of conflict between instincts in Ken Currie’s works, mostly depicted as a dual opposition of creation-destruction, birth-death, and civilization-barbarism.Currie has been raised in the industrial environment of Glasgow, Scotland, which has greatly influenced his standpoint on the relation between man and his surroundings. This influence is specifically significant in Currie’s earlier works. The atmosphere of his works in earlier years is chaotic and crowded, but as he evolved, the chaos turned into silence, with works mostly depicting solitary figures with a vast and dark background. Despite these obvious imagery differences, there exists a very significant similarity among his creations, and that is his detailed attention to man’s desperation and suffering. His attention to the individuality has resulted in a very detailed depiction of the physical aspects, since physicality is specific and defines the individual in relation to the surrounding. In this regard his later works mostly focus on physical wounds as metaphorical manifestation of human suffering. Suffering is projected through ailments, death, and disability. His implication of the physical suffering to project psychological sufferings has gone so far so that a metamorphosis is manifested and in accordance an absolute physicality. In this sense we witness a transformation from a man with purpose, identity, and certainty – which define his values and credibility – to a man void of any value and purpose, manifested simultaneously in one work of art. In Ken Currie’s works, man is caught in the middle of an endless conflict between two opposing instincts. Man is filled with ambiguity, duality, and hesitation, which can be interpreted as a manifesto against warmongering and politics of the powers that be, discrimination, and inequality that instill a sense of impotence in the collective consciousness of humanity. This sense of impotence implies the broader concept of psychological and physical suffering. Regardless, it is necessary to note that in these works no fine line is depicted between destroying and being destroyed, since the existence of man in these works is depicted as an arena for the battle between life and death, in the form of a dynamic interaction and confrontation, which inevitably results in the dominance of the instinct of death and destruction, so that artist can voice his concerns about the place of man in relation to the world. But it is also important to note that life and all its implications are never absolutely absent in his works.In Currie’s works man is never the wise existent with agency, on the contrary, the artist depicts the instances in which man is void of both as a reflection of the dominance of Thanatos, which not only has a significant role in man’s internal musings but also reflects its influence on the external world. In the general sense, Ken Currie’s works depict the man in confrontation with his inabilities, who is destroyed and created in accordance with those inabilities. Currie brings forth the various factors that confront man with suffering and raise a voice to question the internal and external factors that are the cause of man’s desperation and despair.

Persian poetry has long been a vehicle for representing philosophical, mystical or mythological concepts. In the meantime, the concept of man has been carefully considered in the poetry of many poets due to its high role and importance. The present article tries to look at the place of this concept in the poetry of Nasser Khosrow and Parvin Etesami with a descriptive-analytical approach. In the poetry of the two, reflection on man has subtle similarities and differences. The most important similarity that can be seen in the work of the two poets under review is the significant importance they have given to divine status of man. In this regard, both poets have avoided talking about human beings. It is in this attention to detail that they have revealed their differences of opinion.The most important factor attributed to man in his poetry is the divine and unique essence that deserves spiritual care and behavior. In Etesami's poetry, this view is not absent, but due to the passage of a special kind of humanism of the constitutional period and according to the requirements of the time, Etesami tries to consider the earthly aspects of man in addition to its spiritual aspects. . Another important point is the negative emphasis of Nasser Khosrow along with the positive emphasis of the strike. Naser Khosrow tries to warn people against negligence and ignorance, while in Etesami's poetry, emphasis is placed on abilities such as altruism, morally good qualities, and the dimensions of human social well-being

Today's human is facing many cultural, social, and environmental crises. Each of these crises can be investigated from different perspectives and opinions. One of the essential factors in creating these crises in architecture and urban planning has emerged due to the undesirable human dwelling on the planet, which has been discussed under the general concept of "dwelling crisis". The beginning of human dwelling can be seen as primitive people settling in caves and trying to meet several needs, such as security and environmental comfort. However, as long as the human presence on the earth has passed in different ages, the dwelling has become more complex and extensive. In different civilizations, the dwelling has undergone many changes in terms of concept and has become more complicated. The unbreakable, strong relationship between the dwelling and concepts such as place, space, and environment has made architecture one of the essential fields in defining the concept of dwelling. The concept of dwelling consists of different aspects, such as physical dwelling, mental dwelling, and imaginary dwelling. Considering the philosophical aspects of dwelling to achieve a deep understanding of the dwelling is crucial given the correspondent relationship of these levels with humans and the environment. Looking through Western philosophy, many philosophers and experts have expressed their opinions and thoughts about dwelling directly and indirectly. Therefore, accurate knowledge and understanding of the concept of dwelling and its influential components, including physical, mental, and psychological factors, is crucial in improving the quality of human life. To this end, this research aims to compare and categorize the perspectives of a selected number of experts in terms of the dwelling concept; it then provides a conceptual framework for a better understanding of the components of dwelling in architecture from the perspective of experts in this field. Looking through Western philosophy, one can find few philosophers equal to Martin Heidegger, who directly expressed his thoughts about dwelling. Also, Christian Norberg Schultz has generally reflected Heidegger's insights in architecture, emphasizing his thoughts' importance in understanding the concept of dwelling. Thus, based on the thoughts of the mentioned philosopher and those of several prominent contemporary architects, this study will seek to understand the components of the dwelling. The current research was conducted using a qualitative method and logical reasoning strategy. First, information has been collected through library and document studies based on selected experts' perspectives (Martin Heidegger, Christian Norberg Schultz, Amos Rapoport, Richard Rogers, Christopher Alexander, Charles Jenks, Robert Venturi). By focusing on the native dwelling, Amos Rapoport has written explicitly about the dwelling and proposed solutions to achieve the ideal settlement in the contemporary period. Richard Rogers has explained sustainable dwelling on the planet by proposing architecture and urban planning compatible with nature through clean energies. While criticizing modern architecture and urbanism, Christopher Alexander has found the timeless way of building in a non-linear and non-tree dwelling. Charles Jenks has been the representative of Postmodernism in architecture and compared the architecture influenced by the role of people and their characteristics with elitist architecture in achieving an ideal settlement. Along with Charles Jenks, Robert Venturi has also explained the ideal settlement in the context of Postmodernist Architecture with features such as contrast and complexity and bringing back the decorations to Postmodernist Architecture. Through a qualitative content analysis, the components of the dwelling were then extracted from the perspective of the experts; based on logical reasoning, perspective comparisons, and categorizing the extracted components, a conceptual model of the dwelling was also presented. In this research, fifty-four essential dwelling components were extracted based on the perspective of experts; these components were then compared and categorized into six main groups. These perspectives are placed in a range of topics from "conceptual/ theoretical" to "physical/ practical," They show that the levels of dwelling begin with quantitative and objective needs and finally end with reflecting the most transcendental needs representing the qualitative themes. All these components have a complex and unbreakable relationship and are steps that, without each other, cannot become the basis for the transcendence of human settlement; therefore, the more aspects of these components are considered together in the design process, the higher the quality of architectural design and human dwelling.

The way of human and nature companionship influences human lifestyle and normally architecture. Through ages, technology made this companionship possible. Achieving higher quality of life, religion of Islam determines special principles based on the conquest approach on human-nature relation. The main questions of this research are: “what is the role of technology on human-nature relation based on Islamic attitude” and “traditional houses in Iran how much meet these principles”. First based on an analytical-descriptive approach defining the technology and its position on Islamic attitude resulted in a model to capture the first question. Results show that human in two different levels of tool making through technology operates nature based on Islamic conquest approach. In preliminary level of tool-making on the inner and subjective manner, self-confidence and theism help human to recognize, respect and construct nature on “in nature” and “with nature” systems. In secondary level of tool-making on an ultimate considering manner, believing resurrection helps human to provide his way of evolution constructing nature on “on nature” system. Assessment of traditional houses in Iran shows that in preliminary level of tool-making, required material to recognize, respect and construct nature in a satisfactory manner separated from nature and in secondary level of tool-making joined the nature in architectural form and then perfectness instinct of human makes this way of evolution for him.

Statement of Problem:

 In dealing with the wonders of creation in nature and its elements, the primitive man considers himself insignificant and inferior in front of the world and its vastness. Man considers nature to be alive and imagines a supernatural force for each manifestation of existence. Totems are inanimate. Totemism is related to systems derived from symbols or representations of human affiliations to animals, plants, and fundamental and human belief objects based on totems.

Investigating totem and totemism from a psychological point of view and finding a unique method to explore the human mind and the effects left in the design of built spaces.
Research

It is based on analytical and descriptive studies and it has been investigated and analyzed by studying library sources and it has been compiled based on mutual relationships and comparison between independent variables and theories and totems in different religions and dependent variables.

In the knowledge of totem and totemism, understanding many amazing aspects of animals, plants and objects seemed to be impossible for humans and this led to their sanctification; Of course, the holiness that followed fear and respect. Such a view and thought caused the emergence and spread of beliefs such as animism, reincarnation and totemism.

Totemism and belief in totems and taboos was one of the ancient beliefs and a topic related to the history of early humans, which is considered one of the early examples of human religions. The practical consequences of these beliefs in the lives of early humans led to the emergence of rituals and practices in which the importance of animals and plants was emphasized, whose effects on the design of spaces and beliefs of the current generation are clearly evident.

The mainstream of the developments that have guided and shaped the contemporary human dwelling, has been the subject of concern and criticism by many diverse groups of thinkers. Many theorists have tried to re-think the concepts of dwelling and have created new perspectives. Human happiness is the center of attention of all religious traditions. With this premised, it seems that an effort from this point of view can explain things that -in the current view of architecture- have been neglected or forgotten. The purpose of this research is to find out what are the principles and criterions to the body and the container of human life by referring to religious texts, and what is the relationship between the human and the container of his dwelling. The research method is comparative and interpretative, and its resources are the texts of Zoroastrianism, Christianity, and Islam and some of their interpretations. In the first part of the article, human’s existential relation to his dwelling containorin the context of thinking based on the mentioned religions has been investigated, and in the second part, the comparative analysis of the basic differences and commonalities has been discussed. The findings of the research show that, despite the differences in categories and terms to human and the levels and scales of his dwelling, the studied religions have one thing in common, and is that they do not make a fundamental and essential distinction between city, home, and human body, as they do for the human soul, the home dweller and the city dweller and consider the same principles for all these. From the point of view of all three religions, the world in which a person lives, the body, the house, and the city, is a whole unit that consists of a metamaterial or heavenly area in addition to the material or earthly area.However, in modern thought, withthe domination of specialization and its expansion, has put forward a new approach in understanding and dealing with human and his dwelling, which is accurate but in comparison with religious thinking, in terms of the ranks are limited, different in terms of priorities, and inconsistent in terms of scales.

Human interest in planets and stars and their role in human life and destiny dates back to thousands years ago. Astrology has had numerous effects on medical science. One of its important roles is the appearance of "zodiac-man" based on the position of planets and stars in the sky and the coincidence of its effects on human organs. "Zodiac-Man" shows the image of a human that the position of the twelve constellations and the related medical effects are marked on his body. Each of these marks determines the appropriate month and time for surgery of each organ of body or the appropriate medical treatment for patient based on his astrology. This image can be seen in medical handwritten illustrated copies or single sheets in Iran and India. The question is: What connection exists in the (chosen) paintings of Iran and India, in terms of concepts and human illustration method of the zodiac-man? According to the conducted studies in general; the style of "Zodiac-man" iconography in both paintings follows the same pattern and idea, but its processing way, has turned into native form. The research method is descriptive-comparative. Medical science is one of the sciences that combined with astrology, and the outcome of this combination can be seen in "zodiac-man". The resulting illustration of this combination in Iran and India is observable in medical or astrology books. The application of "Zodiac-man" is more in medical science, so each person has a specific fortune at birth, and based on that, one's medical affairs is done. In "Zodiac-Man", twelve constellations have drawn and organs of the body must be treated or operated based on that, so the patience regains his health. In addition to Iran and India, "Zodiac-Man" received a lot of attention in other eastern and western countries. The existence of these paintings can be considered as a map and model for philosophers and physicians who have used it to determine the time of surgery or other medical operations on the patient's body. The primary image that Jorjani drew based on the "KhwarezmShahi's book" is very simple and without details, which is due to the fact that, it influences from Mansouri's paintings and the first copy of the book "Tashrih alAbdan". This drawing is very simple and understandable that later the drawings of the zodiac are frequently drawn in Iranian books. A distinguished example of this painting can be seen in the Ottoman royal calendar. The Indian illustrated "Zodiac-Man" is based on Jorjani's illustrated "Zodiac-Man" but the only difference is in the representation of the zodiac figure. The face of human figures is an important and special point that is visible in the paintings of the Indian zodiac and indicates the Buddhist beliefs and their Indian gods. The painters of both countries, as a result of the structural concepts of their society, have designed the "Zodiac-man" and the zodiac, and it can be admitted that they have been very successful.

According to landscape definition, interaction is a key concept in landscape formation. Using strategies to increase the influence of the interaction elements (humans and the environment) in shaping and communicating with the landscape is an emerging concern that can be a major part of technology implementation in recent times. The interactive landscape is a different step towards strengthening the relationship between humans and places in a more purposeful approach. As a result, this article attempts to more precisely identify the interaction, as well as the characteristics and features that effectively improve the relationship between humans and the environment. In this regard, the environment and the occurrence of interaction, and the characteristics that affect it, are identified on the one hand, and human beings and human characteristics that affect the two-way relationship with the environment are identified on the other hand. The current study aims to answer the following question: What environmental and human characteristics are efficient in enhancing human interaction with the environment and forming an interactive landscape? This study aims to develop people’s relationships with the environment and strengthen the landscape’s interactive aspect. This article employs a descriptive-analytical approach to first investigate the concept of interaction and then analyze it to determine the effective indicators of interaction occurrence. Then, taking into account the importance of humans and the environment in the concept of landscape, it identifies environmental and human components that affect the strengthening of effective characteristics on the occurrence of interaction in the landscape by analyzing the contents based on human nature and the environment. This research suggests that to enhance the occurrence of interaction between humans and the environment, characteristics such as two-way relationships, activeness, variability, responsiveness, effectiveness, and affectedness need to be taken into consideration. Furthermore, the conditions of occurrence of interaction with the environment can be strengthened by using human and environmental characteristics based on their natures.