نقد

If architecture students rely on the form of the work more than anything in the process of reading and understanding architectural examples, then consequences such as neglecting the historical-identity values, meaning and meaning of the works will follow. Therefore, the most important question of this research is how much the students pay attention to each aspect of the work-audience relationship in the process of criticizing and encountering the work? The upcoming research aims to measure the amount of attention and use of communication aspects from field and library studies in both qualitative and quantitative ways, as described first, the place and importance of exposure and criticism in students' understanding and reception was investigated. Furthermore, the communication aspects of the work-audience were deduced by the comparative method and the content analysis method from the matching of two phenomenological and interpretive approaches, and in order to evaluate the degree of application of these aspects in relation to the case example of the Sheikh Lotfollah Mosque in Isfahan University of Arts and Azad University. Islami Khorasgan, statistical tools such as questionnaire and spss software were used. According to the results of the test and the calculated confidence interval, it can be said that the facet of awakening memories and the representational facet of the effect have a higher average than the average, and in the meantime, the representational facet has a higher average effect than the other aspects, which means that the facet The demonstration of a work has had a greater impact, and if the necessary measures are not taken to pay attention to it in the process of criticizing architectural works as well as in the design process, its threatening educational and training role on the process of criticizing architecture students becomes more obvious. Also, the cognitive value facet and the historical originalist facet have an average lower than the average, and according to the average values ​​and confidence intervals of each, it can be said that the value facet has a lower average than the other faces, and it means that the value cognitive facet has less influence than the others. The focus is on the understanding of the achievements of the work, and the reasons for it have been reported by the university professors, the neglect of the meaning and content of the work, along with the tendency towards specific styles and methods in architecture.

The present article reviews and examines the story of Abji Khanum by Sadegh Hedayat based on Goffman's stigma theory (1963). "Abji Khanum", the protagonist of the story, has a not-so-beautiful face and is therefore rejected by society, especially her family. This article, using a descriptive-analytical method, attempted to answer the question of which of the components and themes of Goffman's stigma is most evident in this story. According to the results of the research, the most important stigma in the story is the feeling of disgust, rejection, and social and family dissent in believing this character as a woman.

Narratives, story elements, and patterns are embedded in ancient capacities and concepts, that can be examined in the context of archetypal criticism. In the epoch of new criticism, archetypal criticism constitutes one of the principal methods of analyzing literary works, which Carl Gustav Jung is considered to be the founder of the subject of collective unconscious and archetypes. This essay examines the archetypal role of the father as one of the most recurrent roles in Akbar Radi's plays – the father of modern Iranian playwriting – that demonstrates the significance of the archetypal function of this role, both in the playwright’s individual unconscious and in the other circumstances such as the story and dramatic situations, actions, and reactions of the dramatic society, and key conflicts of the play. Given the position and proliferation of the father's voice in Akbar Radi's plays, several fundamental questions arises as to what roles and subjects this voice generate, what other archetypal concepts it activates, and in what motifs the role of the father is reproduced. Drawing on a qualitative method in The Descent, Blue Aperture, and Death in Autumn, it is plausible to examine the primary function, the dominant narrative, and the authority of the father’s prominent role compared to other roles, and in generating story spaces, dramatic elements, and dramatic conditions.

Contrary to what is generally accepted, especially in Iran, the term critique does not mean finding flaws, criticizing, and highlighting negative aspects of something. Art history is a sort of selection. Less exists on the art of the East compared to the West, and the majority of available translated sources in art history have been on the art of the West and have also presented the East and Iran from the standpoint of the Westerners. These sources present art history, have not been the subject of any critique, and rarely have artworks been compared. Such a scarcity necessitates carrying out an analytical history, critiquing Iranian art scientifically, and supporting instances to disclose the real and true values of Iranian art and architecture. Critique should be unbiased; the subjective, emotional, and political ones harm the value of the field of art. Unquestionably, irrational critiques are not always objectionable; sometimes they stem from ignorance. The critique of traditionalists in Islamic art and architecture is one of the most significant issues that have received attention in recent years, and valuable books and articles have been published in this field.Expert assembly “Critique of Traditionalists’ Views on Islamic Art and Architecture” will be held on October 9 and 10, 2024 at Nazargah Gallery—Nazar Research Center for Art, Architecture, and Urbanism. The purpose of holding this assembly is to present new opinions about the critique of this group of scholars and then avoid partiality and compare different perspectives through the lenses of Western, Eastern, and Iranian traditionalists. The school of traditionalism stands for a contemporary philosophy critiquing modernity and the new philosophy of the West. The proponents of the school believe in the revival of knowledge and wisdom in the sacred sense. This school was founded in the new era by the French philosopher René Guenon, and then Burckhardt, Schwan, Lings, and Coomaraswamy joined this school. The frontrunner of this movement in Iran is Seyed Hossein Nasr. Eastern and Western traditionalists argue that all divine and non-divine religions—Islam, Christianity, Judaism, Buddhism, Hinduism, Shinto, etc.—share a common and eternal truth that lies in the holy tradition or the ancient and eternal custom that exists in all cultures and civilizations. “Perennial wisdom—immortal wisdom” of this school in the countries of the Islamic world, in connection with Sufism and mystical-Islamic sects, entered the discussions of Islamic art and architecture and knotted to the mysticism of the Far East. The spread of this intellectual trend after the Islamic Revolution was accompanied by haste toward the translation of these works, of which the dire consequences are still evident. Building on the recent efforts, we have decided to follow up on the critique sessions of these thinkers in the field of art and architecture. It is hoped that young researchers and professors in art schools attempt to research and teach through logic and reasoned approach and stay away from emotions. This trend has had distorting and adverse effects on teaching, compiling articles and books, and the prevailing mood of the country’s art and architecture community. Thus, it is time to introduce some of the research of recent years in this meeting so that it can be completed in future meetings and published in the form of a collection of articles.

Most traditionalist thinkers, influenced by Sufi Islam and emphasizing the mystical aspects, believe in a shared and universal supernatural truth inherent in religious traditions. This intellectual movement, initiated by René Guénon and carried forward by figures such as Titus Burckhardt, Frithjof Schuon, Ananda Coomaraswamy, and Martin Lings, has significantly influenced contemporary comparative theology. Within the Islamic world, it intertwines with mystical currents and Eastern religious practices. These theorists express their views through Islamic architecture and art, employing illogical and emotional arguments that have led to confusion and disorder in Iran’s cultural and artistic community for many years. Critiquing Burckhardt’s views on the theoretical foundations of art and the manifestations of Islamic art and architecture reveals a tendency towards sanctification and a retreat from rationality, aiming to offer a realistic and logical assessment of the arts in the Islamic world. Traditionalists, emphasizing perennial wisdom, hold a belief in a fixed, sacred, and esoteric tradition across all human religions, perceiving a common tradition in Islam, Christianity, Judaism, and Eastern Asian religions. Unfortunately, their definition of tradition diverges significantly from the Islamic understanding found in the Holy Quran, leading to gross misinterpretations and unscientific interpretations in various fields, particularly in Islamic art and architecture.

Evaluation is one of the most crucial pillars of art criticism. As Carroll asserts, the critique process is incomplete without evaluation and should not rely solely on description and interpretation. In his book "On Criticism," Carroll addresses the key issues that a critic must consider when evaluating artistic works. The critique process envisioned by Carroll establishes a dialectic between achievement value (objective aspects) and received value (subjective aspects), ultimately deriving the final criteria through this method. This research aims to identify the fundamental elements of Carroll's evaluative criticism theory and demonstrate their practical application in the realm of fiction film criticism. Consequently, after establishing a connection between these components and their cinematic counterparts, an opportunity for the systematic critique of fiction films is created. To this end, the essential elements of Carroll's theory applicable to fiction film criticism are employed, followed by the presentation of their theoretical instances in the context of film. Subsequently, to achieve a detailed and systematic application, the film Killers of the Flower Moon is critiqued as a case study. This research is conducted using a descriptive-analytical method, relying on library resources and Carroll's theory. The main components of Carroll's theory that can be inferred for fiction film criticism include: first, Success Value, which is evaluated concerning stylistic and textual techniques and the filmmaker's tendencies towards possible innovations. This issue, regarding Killers of the Flower Moon, pertains to the filmmaker's historical reference to the Western genre. The second topic concerns artistic techniques, which find relevance under the discussion of genre in cinema. Due to overlaps with the third topic—narrative and characterization—they are analyzed together. The results concerning Killers of the Flower Moon indicate that some weaknesses arising from characterization and dramatic effects, combined with neglect of certain genre-specific traits, lead to a negative evaluation of the film. The fourth topic is the evaluation of the work based on the filmmaker's intentionality, where the filmmaker also fails to achieve some of his objectives, such as depicting Native American independence and making certain scenes impactful. Overall, according to Carroll's theory, after examining the main evaluation points, the film's overall evaluation can be considered negative.

In literature, Art and Design, Criticism is one of the most important methods of acquiring and transferring knowledge. Although the subject of design criticism is considered and even approved by the scientific societies of industrial design, but in terms of history, quantity and quality, product design criticism is far behind similar fields (such as architectural design and even graphic design). Therefore, Due to many structural problems, especially inside Iran, this field is in an ambiguous situation, in such a way that not only there are no specialized journals in this field, but even the number of critical articles in reputable journals are very few. This is despite the fact that in other areas of design and art in Iran, criticism has a much better position and many new approaches and methods have been developed and even localized. To get out of this situation, it is necessary to know the field of industrial design criticism in Iran. In this regard, this research examines these central questions: "What has been the evolution of industrial design criticism in Iran?" and “What are the common industrial design criticism methods in Iran?” In order to get the answer, appropriate methods have been used in different sections. In general, this is a Metasynthesis research, that is, it deals with the secondary analysis of qualitative studies in this field. Therefore, after a systematic review and selection of sources, analytical-content units have been extracted and coded based on four criteria, the desired criteria are: What is criticized? Why is it criticized? How is it criticized? And under what paradigm is it criticized? After coding, the qualitative findings were synthesized and discussed. As a result of the synthesis and discussions, in the first step of this research, a four-fold classification has been created for the types of industrial design criticism, which are: Evaluative criticism: It is a criticism that is done with the purpose of evaluating, validating or pricing a product. Descriptive criticism: It is a review written with the aim of introducing a work or a designer. In this type of criticism, the critic plays the role of an intermediary between the design and the audience. This type of criticism is usually influenced by the Romantic theories of art and tries to discover, interpret and present the genius of the author or the hidden meaning of the work to the audience. Analytical criticism: At the end of the 19th century, the entry of disciplines such as literature and architecture into universities, together with the general atmosphere of praise for science and faith in positivism, along with the belief in genius, the author's intention and the ultimate meaning of the work, caused criticism to search for meaning, or something hidden in the work, and do this search with the "method of science". Analytical critiques seek to discover the meaning or hidden structures in the work and have a distinct appearance in formalism and even product semiotics. Interpretive criticism: From the post-modern period, many intellectual and philosophical foundations of modern thought and positivism were rejected. This caused the art and design criticism to be seriously transformed. Criticism's mission is no longer to discover the hidden meaning, but criticism seeks to read the work based on its own methods. Then, nine types of criticism have been identified in the background of the subject, which are: 1. Advertising texts; 2. Critical Texts of industrial production; 3. Prescriptive texts of the modernism stream; 4. Criticism during design historiography; 5. Independent design criticism based on art criticism; 6. Semantic product design criticism; 7. Product design Criticism in contextual and cultural studies; 8. Design criticism in social networks; 9. Academic critical research. After classifying design criticism methods and the background of design criticism, focusing on the status of design criticism in Iran, the course of formation of academic criticism is explained and two common criticism methods in the Iranian academic space are identified and introduced, which are: 1. A type of Formalist criticism known as "Gestalt criticism" or "the method of master Modaraei" and 2. Some kind of “product design semiotic”. The first type has become popular at the beginning of the industrial design master's program in Iran. This method of criticism is a form of “formal analysis” and generally includes two parts: the breakdown of form into visual elements and then, the combination (visual qualities) of the structure and combination of elements. This method is a combination of basic criticisms of visual arts and Gestalt theory of perception, and it is very close to common methods in Iranian graphic design criticism. In general, this type of criticism belongs to the group of analytical criticisms and seeks to identify the form in a quasi-scientific and positivist atmosphere. The second type has become popular about a decade later and has been influenced by semiotic art and literary criticism methods in Iran. However, there are still serious problems with its theoretical foundations, including that these critiques still do not consider the difference between semiology and semiotics. Or they don't even pay attention to the difference between design criticism and evaluating industrial products. They are also undecided about the function of design criticism education. It is not yet clear whether these trainings seek to educate critics or design practitioners that uses criticism in the practice of design. At the end, three common research strategies in design criticism research are introduced: 1. Researches with a development strategy: they are researches that introduce and develop the methods of artistic and literary criticism. Their issue is how to use the desired method for design criticism? And how to understand design by those methods? These researches started with semiotics, but today they have expanded a little and entered areas such as hermeneutics or cultural theory. 2. Researches with applied strategy: The second group are articles and researches that use a critical method (as a tool) to identify a style, the works of a designer or a period. Usually, in these articles, an extended volume is devoted to the introduction of the method. 3. Researches with a prescriptive design methodology strategy: The third group are the articles which have tried to expand the design criticism methods to the field of design methodology. In other words, these researches seek to apply and prescribe the methodology of criticism in the practice of design. industrial design criticism in Iran has both good and bad sides. The good side of it is that this field has made good achievements so far with empty hands without the support that is necessary for the formation of a critical discourse. The downside is that this field has deep structural challenges. In teaching design criticism, there is no comprehensive pilot view, and only a few limited methods are taught without establishing the necessary theoretical foundations. Of course, the scientific community of this field and especially its talented and hardworking students can easily fill these gaps.

In this research for my Statement of the question; the author was guided in this direction by the preconceptions of the two words feminism and neo-formalism, in order to form a new theoretical approach by choosing one of the abandoned remnants of Iranian-Pahlavi classical literature (Yadgar Zariran). In the topic of Ta'zia as a theater, which led to a memorial with this main keyword: the world of the soul of art?! For Purpose, But here, for the main purpose, we have always tried to present a new topic for the world of theater therapy and (art) therapeutic hero in a necessary aesthetics, and of course we also included reviews & the background with the efforts of Mr.Abdolreza Nasser Moghadasi came close to the book: Neuro-mythotherapy. And about my R.method we used library sources and field experiences (anti-feminist), made data and our work is qualitative, descriptive and analytical. In conclusion, we hope that as a result of this effort, the discussion of art therapy in Iran will become more practical, and the criticism will be more honest! And some superstitions should be removed to see if something called art-hero therapy is possible at all? If yes; How can its future be improved and controlled? Hope it will be useful.

Today, criticism is one of the main pillars of the prosperity of science and art in advanced societies. However, in the architecture, the criticism remains abandoned without a clear and specific mechanism and so far, it's not been able to emerge as a specialized activity and regulated process. The Insufficient efforts to research architectural criticism reflect that “the importance and necessity” of this topic is not yet clearly understood. Therefore, this paper seeks a response to the question of what are the components of the importance and necessity of architectural criticism as stated by domestic and foreign scholars? And What are their priorities?

In this research, first by defining the meaning of “the importance and necessity” and then by extracting its components, the opinions of 100 domestic and foreign scholars and critiques who have researched about architectural criticism during the last thirty years have been studied. The collected information has been encoded and classified by adopting a qualitative approach of the directional and inductive content analysis method by using MAXQDA 2020.

Then the results of information analysis have been achieved in form of 174 sub-categories, 41 categories, and 10 super-categories which present the main components of the importance and necessity of architectural criticism based on the opinions of the selected scholars and critics. These 10 components include 1. The special place of architecture is a complex interdisciplinary and meta-disciplinary, influential on and influenceable by different sciences. 2. The special place of architectural criticism as a key field of study in architecture.3. Architectural criticism creates the link between architects, researchers, critics, and users. 4. The existence of several problems in the architecture. 5. The existence of differences in the definition and nature of architecture and issues related to this field among architects and scholars. 6. The existence of various crises about architectural criticism. 7. The impact of criticism on the growth and promotion of architecture. 8. Promoting the culture of scientific and disciplined criticism and improving the quality of architectural criticism. 9. Turning architectural problems into crises. 10. The Continuation of the process of decay and inefficiency of architectural criticism. 

Furthermore, Analyzing the results shows that the major emphasis of scholars is on the component of “the existence of a crisis and problems about architectural criticism”. Also, the statistics captured from the study of scholars and critics show the severe shortage and absence of professional architectural critics in Iran compared with the West and more neglect of this important category in the country.

The Safavid period is one of the most important cultural and social periods in the history of Iranian architecture. Iran's location and economic attractions at that time caused many travelers to come to Iran, whose travelogues are considered one of the most important documents of Iranian architecture. The purpose of the research focuses on the critique of Iran's urban planning and architecture in the Safavid period from the viewpoint of European travel writers. It seeks to find an answer to these questions, what criticisms were made of the cities and buildings of Iran in the 10th to 12th centuries of Hijri? And which ones are valid? The research is qualitative research that was conducted in an interpretative-historical way. The results of the research show that the critical propositions extracted from the text of the travelogues include things such as the appearance of the city, the order and the cleanliness of the alleys, the deterioration of the buildings, maintenance, interior furniture, construction costs, and other issues. In terms of the validity of statements, objective statements that have been repeated many times are valid. Subjective statements rely on the author's hearsay, beliefs, interpretations, and analyses. For scientific validity of subjective statements, researchers should also pay attention to the purpose and mission of the author, the main audience of the travelogue, the author's inability to understand the beliefs of Iranians, the political goals and racial, ethnic, and religious prejudices of the author of the travelogue.

Criticism and correction sessions form the basis of evaluating architectural design projects. A valid and targeted assessment, in addition to measuring fundamental knowledge, also measures its practical application in practice. Integrating knowledge and skills stands as a primary objective within architectural studios. Therefore, evaluation plays a very important role in the process of architectural education that shapes the professionals in the future. The most important issue is to achieve different methods of criticism according to different conditions. Additionally, evaluation should extend beyond merely appraising final projects, encompassing the critique process throughout an educational period (such as an academic semester) for formative assessment. The application of the successful experiences of foreign researchers in the workshop critique process and its comparative comparison with the workshop critique process in Iran can determine our position in this field. The aforementioned comparative comparison has generally identified the similarities and differences of successful international experiences compared to domestic experiences, and by examining and discovering the reason for the existence of these similarities and differences, it is possible to (1) solve the problem, which is to identify the degree of conformity of the structure of criticism and correction sessions. Through this comparative analysis, two key objectives are addressed: aligning the structure of critique sessions with active research findings and identifying optimal criticism methods within educational contexts. Ultimately, this process leads to localization and enhancement of architectural education practices. In this study, Shahid Beheshti University views the architectural studio as a research workshop, adopting a novel approach to architectural education. Guided by fundamental principles outlined by faculty, this workshop aims to enhance the quality of architecture education, positioning itself as a successful domestic model compared to international counterparts. The primary objective of this paper is to evaluate the alignment of Shahid Beheshti University research studio critique and correction session structure with the recommendations of leading researchers in the field. Specifically, the authors seek to answer the question: to what extent does the structure of critique and correction sessions at Shahid Beheshti University research studio adhere to the standards proposed by active researchers? It is hypothesized that the level of conformity to these standards is within the average range, although empirical evidence will be necessary to confirm this assertion.

In this comparative study, researchers employed a hypothesis testing approach using a comparative strategy. The study utilized data from two sources: (a) the opinions of leading researchers in architectural education, particularly concerning the structure of criticism and correction sessions, and (b) the innovative approach of Shahid Beheshti University research studio. Ten key concepts, defining the theoretical framework of criticism and correction sessions in architectural studios, were identified through a systematic review of relevant literature from both communities. These concepts, derived from a scientific process, also align with historical perspectives on the subject. The research method employed in this study is a documentary-survey approach utilizing content analysis techniques. The process begins with the selection of keywords and concepts. In the initial step, information is gathered by extracting data from two sources: (1) scientific research articles authored by selected researchers on the broader topic of ‘criticism and correction sessions in architectural studios,’ and (2) published articles specifically related to this topic, focusing on Shahid Beheshti University. The second step involves qualitative and quantitative text analysis, including categorization and extraction of information from the selected sources. This analysis determines the frequency of topics within the categories based on textual elements. Subsequently, in the third step, the results from the second step are interpreted. Statistical analysis of quantitative data was conducted using SPSS software.

The rThe research findings indicate the identification of ten main concepts or criteria in the structure of critique and correction sessions in the research studio of Shahid Beheshti University. These concepts are: constructive studio environment, participation-oriented approach, involvement of professors and professional activists in studio sessions, criterion-based teaching and assessment method, simultaneous presence of several professors in a single studio for training and evaluation purposes, receiving critical opinions from different professors, integration of different student groups (peer and non-peer) in studio sessions, application of educational technologies in the studio, teacher-centered/ student-centered approach, assessment of judgment and final decisions.

The results reveal a direct and statistically significant relationship between the structure of critique and correction sessions in Shahid Beheshti University research studio and the proposed structure by active researchers in this field, as indicated by the ten identified concepts. This suggests that the critique and correction sessions within the university research studio adhere to a systematic and convergent framework similar to successful global models. Consequently, it is recommended as an exemplary model with the potential for broader applicability. While the research hypothesis initially suggested a moderate level of compliance, the observed correlation coefficient of 0.674 surpasses this expectation, indicating a stronger alignment than anticipated.

There has been a lot of debate among scholars of Islamic art about whether Islamic aesthetics or the philosophy of Islamic art does or does not exist. Some of those who agree with the topic believe that Islamic aesthetics is adequately addressed in Islamic texts. And the examination of the texts, i.e. the Holy Qur'an, the works of Muslim philosophers, and the mystical texts, leads us to understand what Islamic aesthetics is. Those who disagree, on the other hand, see the theory as fundamentally contradictory, arguing that there is no such thing as Islamic aesthetics in the semantic horizon of the sacred texts. So, what is commonly referred to as evidence for Islamic aesthetics goes beyond the theoretical framework of "aesthetics".  Thus, this research mainly focused on whether in the sacred texts and the intellectual heritage of Muslims, there are remarks that confirm the concept of Islamic aesthetics in the sense of aesthetics or not. We seek to address the question based on Islamic thoughts mostly Saeed Tawfiq's views. The findings show that understanding the opinions of the thinkers in the two fields requires a kind of decoding of the Islamic terms due to the inconsistency of the terms used and, more importantly, the difference in their semantic aspects. In fact, it is more likely to address the above question by matching or finding equivalent aesthetic terms in Islamic thought.

Place is an intermediate layer or level as the urban-relational. This ontological conception of place which has a capacity for encountering complicated relationships and and contentions requires critical scrutiny for more elaboration. That aspect of critical urbanism is needed that embeds the redefined ontology in political and socioeconomic realities and explain place as a concrete abstraction.. Political economy is an approach to this achievement through a critique of the mode of place production and also related productive forces and relations.  In this way, lessons in Critical Theory could be as contributions to better understanding.  Based on this and the examination of the evolution of the political economy concept, some essential ideas can be proposed in the critique's framework of the political economy of urban places. An effort will be made to analyze the spatial manifestation of the main productive forces in eight sectors under the capitalist mode of production and to investigate the relationships between them, which have specific consequences on urban places.

The research paradigm focuses on an integrative post-positivist and interpretations schemata and analyses social realities, following normative values of the place and mediating political and socioeconomic relations.The current study adopts a normative-critical epistemology and applies a deductive strategy and a qualitative method to peruse a coherent critical formation of place concept through the review of library documents and the description, analysis, and extension of various theoretical ideas and approaches.

Critique of political economy within  an urban context includes eight rubrics: place as commodity and use value versus exchange value; consumption, spectacle, and commodity fetishism (a two-way conflict between use value and exchange value and the conquest of the latter over the former that occurred because of  the commodification of the city's real estate and collective consumption); private property versus the commons in urban places (a place that has a balanced content as an intermediary layer, and the micro level has a balanced role against the pressures from the macro level, can be a place for the establishment of shared ownership); capital accumulation, right to the city and inequality (The role-playing of the place as the urban-relational between the macro and micro levels leads to a conflict between the stronger and weaker subjects of these two levels. The balance or imbalance between these two levels of role-playing is directly related to the right to the city, the increase or decrease of inequality, and the stratification of the urban society.); state versus private sector; academy and market; and finally, dialectical nature of the place (Place as the urban-relational is in its essence a synthetic phenomenon and a product of the dialectical relationship between distant and close order).

The scrutinizing of place as the "urban-relational " is the main goal of this research, and in this direction, the main challenge is to examine the most important concepts arising from the previous efforts of the authors by passing through the sieve of political economy as a critical approach. For this purpose, an effort is made to calculate the intersection of various and multiple aspects in view of the most advanced thinkers and commentators on political economy and its urbanized version. The review of the literature in political economy in order to find out what this concept is and then the examination of its evolution from the time of its creation in the late 18th century until today revealed its content orientations and trends in different periods. Then, with the help of the formed theoretical framework, and by taking advantage of a comprehensive review of the opinions of some of the most prominent urban scientists, an attempt is made to establish a connection between the theoretical framework and urban issues and to provide a relatively comprehensive analysis of the issues affecting urban places from the perspective of political economy in the sections emerging from the theoretical framework.

It should be acknowledged that the "urban-relational" can only have an active mediation in order to improve the level of placeness in cities when it can have an effective function in the production method that governs it, which is associated with specific production forces and relationships. Place as the urban-relational rests on productive forces and relations by which a mode of production is explained and elaborated. The efficient function of place as the urban-relational within the influential mode of production is conditioned by some potentialities and impotentialities interfering in the scrutinization of place.

Mental awareness depends on having “critical thinking”. This type of thinking emphasizes changing educational approaches in academic systems. Critical thinking requires the skills of analysis, inference, data evaluation, and inference. Components of “critical thinking” force learners to challenge their views, hypotheses, and designs. Hence, “critical thinking” is a cognitive skill. Based on such cognition, there is no absolute knowledge in the world. Education is beyond the transfer of theories, achievements, and scientific laws and the recall of facts. Therefore, this article scrutinizes, analyzes, and critiques the teaching of architectural design in Iran in terms of “critical thinking”.

“Critical thinking” is subject to a change in perception of “learning” because learning is inherently associated with growth. In other words, the evolution of intellectual structures and the construction of meaning and concept is a complex and cognitive practice. Therefore, what is considered the weakness of “critical thinking” in architecture students is the weakness of the higher education system in planning architectural design education. The current system of architectural education trains students to design what they have learned, and naturally, the product of this educational system does not develop cognitive thinking; they are just like robots that act on what is planned for them. Therefore, the approach to teaching architectural design should be shifted to critically oriented teaching based on “critical thinking".

This research is fundamental. However, its application in teaching architectural design is a matter of course and is considered descriptive-analytical research in terms of nature and method.

The absence of an accurate and comprehensive method in Iranian architectural education, if it has not hindered the development of architecture, has limited it. Paying attention to strategies of critical teaching in architecture, classifying, and identifying the correct ways of criticism in teaching architectural design can instill a sense of awareness and ability in architecture graduates. It can also contribute to an accurate and rich architectural design in the country. However, the effectiveness, strengths, and necessity of using critical thinking in architecture education require changes in the course topics.

Criticism is a long-standing science that has been used for many years in various fields. Throughout history, criticism in any field has always led to the development of that field. Philosophy of art is the essence of art, which expresses the main identity of each field of art. Architecture also expresses its main concept through its philosophy. To understand and critique an architectural work, one must understand its philosophy. One way of criticizing architecture is to use methods of criticizing the philosophy of art. Philosophy of art is one of the sciences that philosophers have been trying to define for years. In the critique of art philosophy, there are two psychological perspectives that take their philosophy from the creator or the artist and the contextual perspective that the work of art inherits its essence and essence from its context and environment. . Today, Iranian architecture suffers from anonymity, one of the reasons for which is the lack of theoretical foundations for its critique, which has caused every architect to pursue his own style and tendency, without being aware of its mistakes and shortcomings. With the right critique of architecture and the architect can take a step towards resolving the crisis of anonymity. The purpose of this article is to evaluate the feasibility of using both psychological and contextual perspectives in architecture. The present study, with the help of the library method, has examined the existing sources in this field and has reached the hypothetical results by analyzing the obtained materials. The results indicate that architecture accepts the critique of philosophy of art. The most important step in this process is to recognize the architectural work in order to determine the point of view of the critique.

Aesthetics as the essence of art has always drawn the attention of intellectuals, critics, and philosophers. It has also been approached directly or implicitly by traditionalists. Traditionalism is a twentieth-century western school founded by Guenon, Coomaraswamy, Schuon and practiced by Burchardt and Seyyed Hossein Nasr in Iran. The present study draws upon a cognitive approach to discuss some philosophical views and then examines the aesthetics-associated ideas of these five traditionalists. We attempt to criticize such views based on this assumption that the traditionalists’ views on aesthetics are ambiguous and contradictory and irrational and include expressions devoid of truth or reality.Ancient school philosophers’ definition of aesthetics is mainly substantive and points to tangible matters. Comparatively speaking, the definition of traditionalists is merely vague, emotional, and contradictory. Such conceptualization has been extended to architecture and other arts. In many cases, this definition has even gone too far and caused ambiguity However, the fact that many traditionalists have taken aesthetics for the truth itself is undeniable.

Arabesque is one of the most eminent ornamentations of Islamic art. Though based on existing documents this form of decoration dates back to the Sassanid era, some researchers have regarded interlacing forms as arabesque and traced their origin to ancient Greece and Rome. In Iran, the rise of Arabesque began in the Seljuk period and came to its prominence in the Safavid period. Taking an evolutionary approach to arabesque through time, this study aims to introduce the oldest examples of this pattern in Iranian decoration, which later were borrowed by other areas in the Islamic world.  In this research, a historical-analytical method was used to analyze the collected data from library documents, texts, and images. In this regard, scrutinizing the book entitled “Arabesque and Signs” that contains several contradictory comments on Arabesque was taken into consideration to resolve ambiguities.

Man created art to use it as a means to express his sentiment and convey it to others. Along with this, according to theories and the views of philosophers, the aesthetic and its achievement, which is the sublime state, has always been the main concern of an intelligent man. Human has also been interested to know how to think beautifully and observe the beauties while re-creating them with the help of creativity and techniques.Visual arts and architecture have been a manifestation of man's imagination in artistic creation. Apart from them, music is the only abstract phenomenon that does not rely on visual aspects and preliminary perception. Consequently, it turns to be a mystic phenomenon in which having secondary knowledge for its appreciation, is a necessity. Naturally, by its structural features, music may seem to be adaptable to other phenomena which have a kind of engineering in their scheme, but with a deeper observation, we would understand that such adaption is heterogeneous. This study attempts to provide a critical review and analysis of the structure and content of an interdisciplinary article on architecture and music, which tries to bring these two arts together by overlapping specific examples and connect form and content. In doing so, it has given more priority to the emotional aspect than scientific and academic research. This has resulted in gross faults in explaining the theoretical foundations and verification of the aforementioned evidence has reduced the credibility and reputation of the article.