جستجوی مقالات مرتبط با کلیدواژه « هویت » در نشریات گروه « هنر و معماری »

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.

Logos are tangible and special designs that are used to show a specific group, product, or service, which, in addition to referring to some concepts, sometimes also display the characteristics and identity of an institution or product, and for this reason, international companies use the company's logo to communicate effectively with their customers.One of the media that plays a role in the formation of social identity, including national identity, ethnic identity, religious identity, and global identity, is instant messaging software such as Telegram, Instagram, WhatsApp, Eita, Soroush, etc. and the like that makes communication with virtual space possible.Messaging software allows users to communicate in a task or activity or common goals and activities. Nowadays, the use of mobile phones and messaging software has affected all aspects of people's lives, and people prefer to use phones that support different softwares. This is the reason for the increasing use of smartphones and tablets. The emergence of these technologies provides new conditions for dialogue, understanding, and balance in the virtual and real world.Therefore, the need for Iranian messengers is considered not only cultural but also social and political. In this way, the messenger can play a role in displaying the identity of a society. An identity that has been affected by the globalisation of cultures with the help of the mastery of new media and communication knowledge and has undergone continuous changes. Therefore, cultural symbols that are rooted in popular culture and beliefs can be used in the design of the logo of internal messengers. This material shows that the logo design of internal messengers requires an Iranian-Islamic design. The current research aims to identify the identity elements of the Iranian-Islamic sector in the logo of domestic messengers.Based on this, the research questions are raised as follows: 1- What are the main design elements of the logo of internal messengers? 2- What is the extent of use of elements that show Iranian Islamic identity and culture in the logos of internal messengers? To answer these questions and based on the historical documents that exist about the rich Iranian culture, it is possible to find out what factors are effective in inducing Islamic Iranian identity in the logo of domestic messengers by analysing the logo of domestic messengers. For this purpose, first of all, it is necessary to identify the main design elements of the logo of internal messengers and also to determine how compatible the logo elements of domestic messengers are with Iranian-Islamic identity and culture. Messengers can be a tool to spread Iranian and Islamic values ​​in society. Also, considering the widespread cultural attack of Western messengers and various advertising tools, which are mainly aimed at weakening the values ​​and the identity of societies in general, it doubles the necessity of designing domestic messengers with Iranian-Islamic identity. And it shows the necessity of research in this case.In terms of nature and method, the current research is an adaptation of a set of qualitative methods and by relying on the results obtained from observation and study, efforts have been made to answer the research questions. The collection of information was in the form of a library and observation. The body of the study includes the logo of 23 domestic messengers, which were examined and analysed using the full number method. The studied Iranian messengers are: Eita, Soroush, Bale, iGap, Hudhud, Anar, Saina, Dorna, Zalzalek, Nazdika, Lanzor, Aiwa, Noa, Abarak, Tebian, Fanus, Rubika, Shad, Bisphone, Salam, Ring and Visgun, which were used by Iranian users until the research was conducted.Today, the role of messengers in social transformation cannot be denied. On the other hand, the dominance and influence of foreign messengers should not be neglected. Therefore, considering the risks that such messengers pose to the thoughts and culture of societies with the lack of continuity of content and Iranian visual elements, such concerns have led to the creation of internal messengers to prevent this cultural invasion and preserve the Iranian-Islamic identity. In this research, 23 logos of internal messengers were studied in terms of identity. One of the factors differentiating each logo from others is the quality of its design, and designers have used different design methods. One of the logo design techniques is using traditional motifs. As mentioned earlier, traditional motifs have various types, including (human, animal, vegetable, geometric, and written). Each of these motifs has many concepts that have always existed in Iranian culture and beliefs, which are derived from pre-Islamic and Islamic culture. Artists in logo design have tried to use these patterns and concepts in creating their works and create different patterns, some of which have symbolic meanings in their works. According to the analyses and investigations and according to the results of Table (1), in response to the first question of the research, it can be said that artists have used traditional motifs in designing the logo of domestic messengers. But among the types of these motifs, human motifs have not had any contribution and also from the other four types of motifs, geometric, written, vegital, and animal motifs have had a greater contribution in the design of internal messengers' logos. In the design of most of the mentioned logos, they have used a combination of several types of motifs. Except for the logo of 11 messengers, including (Nasdika, Wisgon, Noa, iGap, Rubika, Ring, Gap, Aiwa, Abarak, Bela, and Dorna) with a frequency of 47.82 that have used only one motif.In response to the second question and according to the reviews of the visual elements of the logos of domestic messengers, these results were obtained that elements or symbols taken from Iranian identity, culture and art are used less in their design and only their practical aspects such as design principles has been considered by the designer. Meanwhile, efforts have been made to give identity to the logo of domestic messengers, and we can mention the logo of messengers such as "Soroush, Eita, Anar, Hudhud, Shad, Salam, and Lenzo" with themes related to Iranian motifs. Patterns are taken from rituals, epics, traditions, and personalities rooted in Iranian Islamic culture, religion, history, and identity. However, considering the existing capacities in Iranian art and culture, these efforts do not seem worthy of attention and sufficient. Therefore, in response to the second question of the research, it can be said that the visual elements of the logos of the domestic messengers do not match the capabilities of Iranian culture and identity. What is important is the introduction of some foreign elements (English letters) in the design of several logos, such as "the letter “E” in the design of the Eita Messenger logo, the word Salam in the Salam Messenger logo, the letter “Z” in the Zalzalak Messenger logo, and the letters “B” and “P” in the logo of Bisphone messenger and the letter "S" is in Soroush Messenger. Also, the use of European elements such as Exponential volume (the logo of Visgun and Anar messengers) and shading (the logo of Bale, Eva, Ring, iGap, Saina, and Anar messengers) cause the association of non-Iranian messengers. According to the information in Tables 3 and 5, the Europeanism index has the highest frequency with 65.21 and the Iranian index (Archaicism) has the lowest frequency with 17.39. Based on this, it can be said that the share of Iranian-Islamic identity indicators in the collection of logos of Iranian messengers is very small.

Identity is one of the topics of interest in contemporary art. Iranian artists have also tried to examine this issue in their works and reinterpret the identity in some way given the upcoming challenges. Therefore, this article aims to answer the question of the representation of identity in the works of contemporary Iranian artists and is aimed at expressing what purpose. The result obtained from the explanation of the works is that the representation of identity in the works of male and female artists has major differences. Among them, female artists have often tried to continuously address the cultural issues and identity problems faced in traditional society. This is even though male artists have examined this issue in a more general way regardless of gender. This study examines the works of contemporary male and female artists, photographers, and painters. The purpose of this research is to explain and analyze explicit and implicit signs in the works of artists and pay attention to obvious differences in the issue of identity representation. The approach of this research is qualitative and descriptive-analytical. The information related to the conceptual framework was collected using the library method and the photos and information related to the photographic works were collected from sources such as personal websites and in some cases personal archives of the artists. The findings of this study and the results of its investigation are detailed in a separate table at the end of the article before the conclusion (Table 1). Also, in another table (Table 2) the analytical model of the data of this research is drawn. The images of this article (photos and paintings) have been selected according to the research question and targeted sampling.

The art of animation holds immense power. It has the ability to craft fantastical worlds and has been a powerful tool for storytelling. The depiction of characters and their physical forms has been a crucial aspect of storytelling. Animations have also introduced new concepts and ideas to challenge societal norms. One such concept that has recently been explored in animations is disability as a cultural concept. The purpose of this study is to explore the representation of disability in animations, unraveling the multiple layers and intricate dimensions associated with such portrayals. In this article, we delve into the portrayal of disability as a representation of identity disorder in the film I Lost My Body. We examine the correlation between one's physicality and their sense of self, with our main inquiry focused on how the relationship between body form and function intertwines with identity and how I Lost My Body depicts this connection. There are two models for analyzing disability: medical and social. In the medical model, disability is seen as an individual problem that requires medical intervention. Here, we utilize Mike Oliver's social model of disability and examine characters in feature films to acquire valuable insights into the intricate interplay among corporeality, identity, and body representation. Mike Oliver's social model of disability can provide a useful framework. This model posits that social barriers and exclusion are what create disability rather than any inherent physical or mental impairment. By applying this model to the protagonist's disability in the film I Lost My Body, we can assess how the movie addresses the connection between identity and physicality. Through this lens, we can examine how disability is portrayed and whether the film challenges societal stereotypes surrounding disability. By analyzing the film, it becomes apparent that Naoufel's physical disability gave rise to a unique identity for him. This identity is not characterized by damage or negativity, but rather by a stark contrast to the completeness and integration that his body once enjoyed. By living without an important and useful part of himself, Naoufel demonstrated a natural ability to move on from the past and embrace a separate existence, detached from his parental influence. Our examination of animated films highlights the impact that body perception can have on one's identity and actions. Through animation, creators have the ability to explore mental landscapes that challenge societal norms regarding physical appearance. By showcasing diverse body types, filmmakers encourage viewers to question their preconceived notions of beauty and embrace individuality. This article sheds light on how animated characters' physical appearance and abilities are critical to how they are perceived and accepted within their respective worlds. Additionally, we aim to address the passive portrayal of disabled characters in animation and instead, represent them as a normal part of society. Through our analysis, we uncover stereotypes surrounding disability in animated media, and we hope to encourage more nuanced and varied representation of disability in the future.

Identity is the basis of the existence of every person and human society; in this way it starts with a familiarity with one other and another and causes awareness of oneself and one's identity. Globalization recently made the familiarity between the self and the other to be largely economic and one-way from the West to the East. Many thinkers believe that the expansion of communication and the increase in the volume of information transfer through social networks have caused the people of different societies with all their cultural diversity to tend to a kind of standardization of lifestyles and in this way lose their plural identity. On the other hand, the glocalization approach tries to deal with the homogenization of identity. This confrontation has appeared in various fields, including art and painting, but due to the complexity and interdisciplinary nature of the issue, less attention is paid to it. This research tries to look at the status of signs of Iranian-Islamic identity at the two levels of sub-national (ethnic) and transnational (globalization) identity, relying on the semiotics methodology. For this purpose, the selected works of Ane Mohammad Tatari and Rabee Baghshani has been analyzed to find out that "how can we compare the signs of Iranian identity in the works of artists who believe in globalization with the paintings of artists who believe in global-localism?" From the point of view of semiotics, every artist lives in society as a biological being and tries to have a critical representation of that society and represent this attitude in his works. In this method, there is no difference between verbal, non-verbal or even combined symptoms and all of them are symptoms that criticize the existing situation. Accordingly, our main hypothesis here states that "both groups of painters who believe in globalization and glocalization have used symptoms of Iranian identity in their works with the difference that artists who believe in the idea of globalization use the symbols of Iranian identity in the context of the symptoms of the unified culture considered by globalization, while the artists who believe in the idea of glocalization have used the symbols of Iranian identity in the context of the symptoms of the specific culture of their place of residence. Semiotic analysis has revealed that each artist has established a contrast between Iranian identity and the global identity signs. Briefly the findings of this research show that Baghshani focuses on the signs of national identity and globalized identity in his works. On the other hand, Tatari in his works focuses on sub-national and transnational signs, and focuses on the identity signs of the Turkmen nation and its introduction to the world. This research was carried out through desk-based method and was organized by the principles of the descriptive-analytical approach to show the differences and similarities between the works of these two artists and how they have looked at the conflict between their national identity and the identity of another world.

The increasing growth of the population and its concentration in metropolitan cities have led to the development of planned cities, the primary goal of which was to attract the population overflow. These cities were located near metropolitan areas based on the self-reliance and spatial organization principles with predetermined goals. This is an emerging phenomenon in the urban livability of Iran; moreover, an abundance of problems relevant to this issue has prompted researchers to pay special attention to different aspects of it. One example of this phenomenon is the planned city of Pardis, 17 kilometers northeast of Tehran. The authorities approved the location of Pardis in March 1990. Absorbing immigrants regardless of the social and cultural context of the destination and incompatibility of the population has led to the formation of identity diversity, identity confusion, and social isolation of residents. These residents did not develop a sense of belonging to this city and did not have the desire to experience the urban space. The purpose of this research is to analyze the components causing identity confusion formation in the current situation of this city.

This applied research follows a qualitative method and content analysis strategy. Considering the theoretical saturation, the target population is 28 individuals and includes two groups of urban management staff and citizens. The data was collected from semi-structured interviews. The data analysis was performed using MAX QDA, a qualitative data analysis software.

A total number of 430 codes were conducted in three stages. As a result, four primary and twelve secondary categories were extracted.

These showed that the citizens considered the lack of welfare services indirectly affecting the unwillingness to experience the urban space and the weakness in maintaining the population. On the other hand, the urban management staff considered the failure to fulfill the proposed recreational and tourist role for the planned city of Pardis by the upstream documents as the reason for the lack of urban identity by the residents and the absence of a distinctive image of the city

Over almost a decade, façade committees have been established in Tehran and then in other cities in imitation of the center to monitor the architecture of the buildings. This was a response to a demand that goes back several decades after the victory of the Islamic Revolution, which was first called for «identity» and then «Iranian-Islamic identity» in the city and architecture. The heightened sensitivity to «returning to oneself» and the beginning of the «Islamic renaissance» in the first years of the establishment of the Islamic Republic led to the establishment of numerous academic and religious meetings to examine the relationship between «tradition and modernity.» During the pre-revolutionary struggles, the spread of intellectuals› and revolutionaries› dissatisfaction with the regime›s self-defeat against the West led Farah Pahlavi, the cultural politician of the regime, to create an artificial and form-oriented movement by combining modern architecture with traditional elements. A generation of monumental architecture, such as the Museum of Contemporary Arts and the School of Management, was the result of this policy. To theorize this process, the «Link of Tradition and Technology» conference was held in Isfahan in the presence of a selected group of famous Iranian and world architects, chaired by Farah Pahlavi. At the same time, the official trend of the country›s architecture and what was promoted by the governing body in the guise of the model and law was a mutilated and meaningless modernism dependent on the consumption of luxury goods and imitation of the Western currents. The Islamic revolution represented the demand for the restoration of the historical identity of the Iranian nation. In the years before the revolution, however, no effective action was taken in this regard. The economic stagnation caused by the war and embargo, the ignorance of the relevant administrations in the country, and the gaining power of Western trends in the executive body of the system left no room for a scientific and deep response to the claim for identity restoration. In the 1990s, a study was conducted on the order set by the municipality for façade standards. The study method was similar to the procedure of bulletin makers, who managed the emotions of officials by selecting news. In the city of Tehran, where thousands of buildings were being built at the same time, a few special examples that no one except but a few knew about their existence became a symbol of the trend towards vulgarity; Taking advantage of the unanswered demand of the last century to return to oneself, extraordinary and strange decrees were issued: the use of vulgar colors was prohibited; and to make the rules religious, «prohibition of installing statues on the façade» was also added to the rules.The excitement caused by this biased and not rigorous study of urban management quickly led to the creation of institutions to intervene in the most private parts of society. Façade committees were formed to approve the façade plan, which was added to the previous technical documents. This committee expressed its existential philosophy to protect public rights. Since then, the façade committee in Tehran and many Iranian cities has become a tool to extend the issuance of permits, make construction more expensive, and impose the taste of committee members on thousands of applicants who need permits. The process of changing the rules has been based on the quantitative rise in technical details and is not related to the demand for national-religious identity. In this period, less effective and complicated details have been added to the basic criteria to justify the necessity of the existence of the committee›s action. Over a decade of its activity, the committee has failed to restore Iranian-Islamic identity. This claim is confirmed by the demand of the supreme leader of the revolution in the last report of the mayor of Tehran to the council (Rosen Online, December 23, 2023), emphasizing the movement towards Iranian-Islamic identity in urban architecture. This is the fundamental demand of a multidimensional and complex strategy that cannot be realized by simplifying the problem. Like Farah Pahlavi, who failed to divert the claim for identity with the superstructure and memorial measures, the façade committees will only have dissatisfaction. The perception of identity, in the sense of understanding the continuous nature of a phenomenon, depends on the survival of its existence. The understanding of the existence of a city, which is obtained through encountering and experiencing the space, is first dependent on the survival of the city›s existential components. The importance of the existence of the city is associated with its prerequisites and conditions for understanding its nature and identity. In the case of the survival of the city›s existential components, we can talk about its defining characteristics. The Sunnah of the Holy Prophet (PBUH) in organizing the city of Yathrab, named Madinah al-Nabi, also indicates his precision and insistence on the priority of the order of the components of the creation of the city rather than the form of urban elements. The knowledge related to space and place also validates the same procedure and the originality of the existence of the city in relation to its nature to achieve desirability.By giving priority to the taste of the committee members instead of the taste of the owner, it seems that the façade committees have not conformed to the verse «people are in control of their property» and have taken the wrong path in achieving the great goal they set. Instead of identifying and studying the nature of the city and the main components contributing to its creation, preservation, and expansion, they have completely stuck to the form of urban forms to claim identity. Understanding the identity of the city means having the ability to read its past from the city›s present face and experiencing the feeling and understanding of being in a place with specific standards and attitudes. The place whose elements have gradually acquired the color of time and the transformation of the faces have been so gradual and continuous that the sense of separation from the origin does not arise in the observer. It is clear that intervention in a complex phenomenon is of such a degree of importance that it has a direct effect on building the perception of citizens, and in addition to a hundred-year-old social demand, it was also favored by the beloved Prophet of Islam and played a prominent role in his life. First, it is very necessary, and second, it requires a method and is knowledge-based. The cover image is a view of Qom City, although it refers to the duality of two traditional and unrestrained views, confirming the confusion of this generation and city management in creating an identity view of their desired city.

Identity is the line between "me / the insider" and "them / the other". The characteristics that distinguish us from others are the most important factor in our self-knowledge, but this path of identification does not always work correctly. The West, and specifically Europe in many historical periods, has attempted to construct identities with specific characteristics in various ways. The premise of this research is that the artworks of Jean Leon Gerome are in this format and can be studied. Therefore, this research tries to find out in the form of the main question, "What are the characteristics of the representation of identity in Gerome's artworks?" The main hypothesis of this research states that identity in Gerome's works is based on Orientalist features and has little relation to the situation in Eastern societies. This research has been done by descriptive-analytical method and the required information has been collected by library method. This study examines the representation of identity in Gerome's artworks based on the Orientalist approach in the works of Edward Said. According to this study approach, from Said the West's point of view, in order to acquire the characteristics of rational, logical, advanced, moral, etc., in representing the identity of the East in another position, described them as emotional, irrational, backward and immoral. This introduction was also made through the creation of an Orientalist discourse in which art and works of art were also involved in its formation and had a significant impact on the expansion of the constructed identity of the East. The findings of this study indicate that Gerome in his works sought to promote and expand the identity created by the West, which contradicted its reality. He also created works with a minimal encounter with the wider Eastern world, representing their Orientalist identities, and in this way considered racial superiority, moral inferiority, and colonial goals.

The aim of this research is to analyze the hierarchical concepts of change from popular art (Kitsch) to architecture and semantic cinema in Iran with an identity-oriented approach, which examines the film Khaneh Doost by Abbas Kia Rostami. The general stages of the discussion deal with the common concepts in these two fields of art by explaining the model of the relationship between cinema and architecture and the definition of semantic cinema, and in the meantime, identity is criticized as an identifying element of art. The research method in this paper, considering that it focuses on component linkage, uses Pierce's logical method, which is applied in terms of purpose and based on analytical, descriptive and a combination of qualitative (from sample to theory) and quantitative ( From theory to example) And in terms of method on explaining the theoretical content of theoretical findings, interdisciplinary and case study has been done and Also, questions and interviews with experts in these two fields (cinema and architecture) are among the pillars of research. In the following, by using the film "khaneh doost" by Kiarostami (famous Iranian director and writer), an attempt has been made to analyze the concepts in question, where identity is the main issue. The transformation of a work of art from an inefficient and useless work into a semantic work has been criticized and the plot of this claim can be generalized in contemporary Iranian architecture.

Post-modernism is the dominant aspect of the cultural belief of the time that re-frames all actions and constructs distinct ideas of experiences and conditions at the deepest levels and everything that can be known about the contemporary world; As long as the centralized power gives way to a discrete plurality, and bring to the fore a manifestation of contemporary identity in the current era. This research - which has been done using the qualitative method and the grounded theory approach - with the general purpose to analyze and interpret the identity of Iran contemporary architecture based on post-modernity and critical thought, looking for an answer to this question, How can identity, as a critical approach, have an effect on the recognition of post-modern architecture - especially in the Iran contemporary era? In this research, the systematic approach known as Strauss and Corbin's theory (2019) was used to analyse the data. According to the classification of Corbin and Strauss (2022), the systematic approach has three stages of open coding (concepts), axial coding (Casual Conditions, Actions & Interactions, Context, Intervening Conditions and Consequences) and selective coding. In the collection and extraction of the main categories and sub-categories, from the documentary and citation resources and the interview tools have been used. The special emphasis of the research is on the views and opinions of those professors and architects who work both academically and professionally. Hence, the research data has been compiled and analysed in semi-structured interviews. The responses at the highest saturation level reached relative saturation in the 17th interview. The interview process is continued until the 25th to ensure the data and obtain absolute saturation. The content of data was coded by Strauss and Corbin coding method in three stages (open, central and selective). In the coding process of 17 interviews, the frequency of the 5969 coded items, was reduced to 317 open codes from the frequency ratio of 1337 codes after refining and merging. The obtained codes, in the number of 53 axial categories and 8 selective categories, were related to the axial theme of Iran Contemporary Architecture Identity. The Observations Percentage Agreement of 90.37% indicates relatively complete reliability and coverage of criterion level of more than 0.6 of Kappa coefficient, describing validity as ideal. Therefore, the research quality index is acceptable, and the reliability and validity of the research are confirmed. The research results can be valuable and interpreted by examining the criteria of matching, generalization, understanding, and control. The findings show that the result of summarizing the causal variables of the research in the mediating conditions of the existing situation, provides an event that in a fundamental attitude, between the (narcissism to self-defeat) truth and (self-belief) Iranian essence, and in a historical discourse, between a re-reading of what exists and a re-presentation of what should exists, in a Preventive (and not Mandatory) form and in a reading of a critical realism and feedback interpretation of self-reflection evaluation from the feedback of others, they recreate the way of being.

The most obvious cultural sign and the most significant ethnic-national manifestation and sign of any society is its clothing, which is rooted in adherence to traditions and religious beliefs. Therefore, a part of the culture, identity and art of every nation and country can be searched in its clothes. The current research was carried out with the aim of investigating the identity-oriented components of Bakhtiari nomadic clothing and designing clothing based on the mentioned components for the new society based on the life of a settler in today's society, because clothing with such a background is due to the change in people's living conditions, use and identity. It has faced fading and oblivion. For this reason, the necessity of designing clothes with these features becomes more clear. And also, with the conducted investigations, it is hoped that with the new design based on the identity components of Bakhtiari clothing, it will be possible for people whose lifestyle changes have changed their clothing taste.The method of this research is descriptive-analytical and the method of data analysis is qualitative. The results of this research, after examining the various functions of clothing in the living conditions of the Bakhtiari tribe, including customs and identification of identity dimensions in the clothing of these people, show that all the identity dimensions of Iranian clothing can be seen, and the ability to generalize, expand and implement in Today's clothes are combined according to the conditions and use.

The loss of the identity of spaces in the architecture and urban planning of the contemporary world is a comprehensive and multifaceted issue influenced by various factors such as globalization, rapid urban development and transformations, and new technologies in construction. The crisis is aggravated for the developing countries with a rich architectural heritage that have welcomed modernity and its achievements in building techniques, and their architects have begun to design through the lenses of Western aesthetics in architecture. We might consider it possible to change the view of architects and designers from a purely aesthetic point of view to a life-orientated one. But we cannot still be oblivious to the influence of the imported techniques and materials that play a significant role in the quality of spaces. The profit-seeking point of view has taken away the opportunity to digest the imported architecture. Considering the opinions of thinkers in the fields of humanities and architecture, the present essay raises the question of the possibility of reviving the lost identity on the scope of this crisis and how to maintain the connection to culture and history while accompanying the forced path of the times and the world. Through this exploration, the essay tries to find components for identity in architectural and urban design. The research approach is a theoretical approach in which the opinions of thinkers and philosophers on concepts related to identity, life, and architecture are studied and critically analyzed. Through this analysis, an attempt is made to answer the question: how to plan a way to one’s own space? The question of the lost spaces leads us to the question of the lost self. How can architecture help a dweller to recognize oneself? To know and recognize ourselves, we need a mirror that reflects us to ourselves. The spaces that surround us and the spaces in which we act according to our life are both a platform for our life and a mirror that reminds us of who we are. Self-recognition in the mirror of place and space becomes possible by dwelling. Here, dwelling is used in a broader sense than residing in a building. Whenever man can regain his position in relation to the earth and the sky, himself and his fellow species, or he himself, through the means of space, and can define these relations under the order of building, the matter of dwelling has taken place. Man’s residence in space, which turns it into a place for his life, is possible in the light of the mirror-like ability of space and the unification of man and space. The analysis revealed that consolidation of identity needs both thought and reminisce. In defining the remindful space, its required characteristics and components, and what should be reminded, we return to the definition of man. Man is identified based on his relationship with God, himself, nature, and others. Hence, the question of identity in architectural space as a dwelling place for man is how it can help him to remember and find his relation to these four. So, thought-provoking quality, reminiscence-provoking quality, and meaningfulness are proposed as solutions for this challenge, and strategies are provided for each. Among the answers in this direction are remindful architecture by using familiar signs and forms related to cultural concepts, providing the possibility of belonging, perception and thinking, readability and touchability of space, and enabling the transfer of perception from form to meaning through allegorical quality. After classifying the solutions, the essay presents three main characteristics architectural spaces should have to maintain identity through time. Thought-provoking as providing the dwellers with space and opportunity to engage with deep thought about their being and identity relative to the world’s existence; meaning-making, expressly the possibility of tying meaning with architectural spaces or elements in the context of time and poetic dwelling, and reminisce as establishing and continuing the audience’s perceptual and behavioral patterns based on the common culture of spatial characteristic, are the architectural characteristics that smoothen the stages of establishing and consolidating identity in space and promise its continuity in the context of time. In the meantime, architects should look at how to change the view of architects and designers from a purely aesthetic look to a life-orientation one. And how to strengthen presence, thinking, self-awareness, and life choices based on their own lifestyle in the space for the audience. And, of course, the final answer lies in the reminder that it isn’t possible to regain identity in architectural space, except by the inner return of the dwellers to the abandoned realms of their existence, and the first step is to plan the way of this return.

Any theoretical framework designed to safeguard cultural heritage must address the question of “how” to ensure the continued existence of historical buildings and sites. In light of the disconnection from tradition and the past brought about by modernity, the proposed framework should strive to reestablish this severed connection. The objective of this article is to introduce a new framework for preserving historical buildings and sites, to revitalize this heritage. It examines how a narrative approach can confer significance and longevity to this heritage, enabling it not only to persist but also to evolve into an influential societal element while retaining its distinct identity and adapting to temporal changes for its preservation. Additionally, the article investigates integrating this approach with other methods to achieve sustainable outcomes in heritage preservation.

AbstractProblem statement: The discussion about the financial feasibility of contemporization among investors, planners, policymakers, and supporters of cultural heritage is ongoing. The ideology-driven approach that advocates for demolishing old houses and replacing them with more profitable structures has transformed many streets in Tehran into soulless places. Generally, investors show minimal interest in investing in the renovation and reuse of old buildings. However, there is a growing number of successful projects emerging that involve refurbishment and reuse of existing structures.Research The objective of this study is to examine the preservation of historical buildings and their contemporization from an economic perspective in contrast to building new structures.Research The research methodology employed in this study is quantitative, utilizing the techniques of smooth regression and coding in the MATLAB software. The findings indicate that economic growth based on contemporization follows an upward trend. While there are various costs involved, such as attracting audiences to buildings and the implementation of strategies that are discussed further, economic growth has demonstrated a greater inclination towards contemporization rather than demolition and construction. Proposed solutions in this study include the establishment of financial packages, loans, and banking partnerships to incentivize the contemporization of residential buildings and discourage the demolition of structures from the 1950s to 1970s. Furthermore, the results suggest that municipalities should adopt new policies to promote contemporization and integrate it as an integral part of smart growth initiatives. Municipalities should enforce strict design guidelines in neighborhoods with the potential for contemporization to attract more investment, protect communities, increase property values in those areas, and facilitate potential investments.

In today's era, the environmental crisis and energy shortage have become a big challenge for architects, investors and users of the building industry. One of the architectural design requirements in the process of achieving the optimal building in terms of energy consumption is the amount of receiving and maintaining (not receiving) the temperature from the sun's radiation in order to create thermal comfort for residents and users. mechanical engineers have joined the help of architects and have shared their views about life in space. Basically, the architecture of the space is a generalization of the architecture of the earth, and since about 40% of the energy consumption is in the building sector, the use of active and passive heating (and cooling) ways helps significantly to reduce energy consumption, in this research, while identifying the effective components in the physical and environmental structure of the design of a sustainable habitat on Mars, by creating a configuration inspired by dome building and suitable for the special climatic conditions of Mars, the factor of providing thermal comfort to the inhabitants of the habitat with the optimal combination of layers of glass and Let's examine the Martian concrete material. In this study, the research method "simulation and modeling" is used, and the materials and method to achieve this goal is the use of computer simulation. by increasing the level of Martian concrete and decreasing the level of glass, the incoming radiation has less opportunity to exit the domain and the energy loss has decreased.

Personalization in housing means that the residents are able to put their own stamp on the place and make it their own and personal. The approach of data collection was the attitude measurement of the residents and its method was a questionnaire with closed (Likert scale) and open questions. The size of the statistical population was 378 inhabited residential units, and using Cochran's formula, 190 residential units were selected as a sample community. In order to analyze the data, frequency and Pearson's correlation were used with the help of spss analysis software. The lowest level of satisfaction of the residents is related to the similarity of the shape of the units (0.7) and the dimensions of the spaces (1.2) and the most personalization concern is related to the change The dimensions of the spaces were (4.3) and the change and beautification of the block was (3.3). Pearson's correlation tests show that as we move from more public spaces to more private spaces, the mental concern and willingness to participate for change and personalization increases. In public spaces (open spaces and lobbies), the level of participation in personalization is a function of people's satisfaction with the spaces and is very low; In fact, the attraction of space prompts them to participate. This is despite the fact that in private spaces (inside the units), despite the high dissatisfaction with the house, the residents have a great desire to make personal changes in the environment.

Identity is one of the concepts that has a wide range of meaning in human sciences and is studied by researchers in most different branches of human sciences including psychology, sociology and philosophy. The importance of this issue is that it is impossible to find a person or an object that lacks identity. Based on this, the current article is the results of the studies conducted with the theoretical framerelic of social identity, the branch of social sciences in international documents related to the preservation and restoration of historical-cultural monuments. For this purpose, the research method of content analysis was chosen to be able to analyze a large number of related documents. The documents under review are 28 international documents related to the years 1969 to 2023. In order to conceptualize identity and its relationship with the protection and restoration of historical-cultural relics, international documents in the field of cultural heritage were analyzed. The documents were coded and categorized, this helps to extract and analyze issues related to the concept of identity faster and more accurately. The results of the content analysis carried out in these documents are in the two main branches of identity definition and the relationship between identity and protection. This issue helps to define the identity of a historical-cultural relic and use it as a tool to determine the policy of protection and restoration of historical works. used culturally. The results of the studies in this research state that there is a two-way relationship between preservation and restoration and the identity characteristics of the work. Each one affects the other, so by studying the identity characteristics of the work and its definition, it can be used as a tool to determine the policy of protection and restoration of historical-cultural works.

Cultural sustainability is based on improving the quality of life, preserving and transmitting lasting values. Cultural sustainability requires the identification of the cultural values of a nation and the impact and influence of global cultures; so that in addition to protecting its cultural identity, Coordinate with the conditions and needs of the time and improve the quality of life. Today''s housing has lost its cultural identity with the emergence of global cultures and ignoring local values, and by ignoring the concept of cultural sustainability, it has lacked the required quality of new housing. This research has tried to obtain a picture of the quality of residential complexes in Tabriz and to promote the cultural sustainability of residential spaces by considering the needs of the current generation in its cultural context.The current research is practical in terms of its purpose and its strategy is descriptive-analytical in the theoretical part and case study in the field part. In the theoretical part, after reaching the dimensions of cultural sustainability including cultural identity and cultural development, the indicators of cultural sustainability in architecture were explained with the influence of development components - exchange, evolution and change- on cultural values in architecture. In the field section, the evaluation of Aseman and Sattarkhan residential complexes was done in three residential scales, including the environment, building and residential unit, by observation and questionnaire. The data obtained from the questionnaires were analyzed with Chi-Square and Fisher''s Exact tests. The analysis of the findings was done by comparing the average of the data by applying the coefficient, and their interpretation was done by the Prescott-Ellen method.The results of the comparison of the components of cultural sustainability between the two residential complexes show that the Aseman complex has an equal or higher score than the Sattar Khan complex in all components, except for the component of exchanging respect for the people. In the dimension of cultural development, the exchange of cultural values in residential complexes has been considered more than their evolution or change. In the dimension of cultural identity, the components of security and comfort, justice and equality, purity and honesty and unity and order have good sustainability and other components have moderate sustainability, which was suggested solutions to improve the sustainability of these components in residential complexes.