Cognitive Perspective and Linguistic Metaphors in Iran's Contemporary Architecture

Perspective is not necessarily a representive instrument of drawing, but it is emerged our comprehensive and cognitive-linguistic framework. In fact perspective creation in art is interweaved with our linguistic view toward our surrounding environment. Perspective is a schema to transform the concepts and make metaphors as the linguistic aspect because it metaphorically demonstrates our prediction and conception towards the time and the reference frames toward place, whenever our frames of reference would be changed in language, our perspectives would be changed in art.
Three linguistics reference frames (absolute, relative and intrinsic) have been used and matched with three human positions toward horizon line (below, same level and upper horizon line) to create a model. This model expanded to review philosophy and architecture in three periods (Tradition, Renaissance and Information age)
Emphasizing on the subject or subjectivism could turn the modern epistemology in philosophy in renaissance period. This movement which determined the configuration of knowledge in an exact place and prediction of events in an exact time, recreated perspective in painting and architecture. As this movement is wholly organized on human point of view, it is called relative perspective.
In tradition era, which ontological and holistic cognition govern on thought, perception of space and ordering of events have achieved not only by human point of view but also by their inherent placement. In Iranian perspective, architect or painter do not see objects in human view. Instead, imagine him or herself in infinite position or everywhere and each scene or event is placed simultaneously beside each other based of its inherent value therefore when objects go father they become wider, contrary to western perspective in painting and architecture which objects become smaller when they go farther. Because of this comprehensive point of view, this perspective is called intrinsic perspective.
Human mind has sunk in simultaneous information in the electronic revolution and its affected virtualization, which simultaneity is replaced with the sequentiality, smoothness and two dimensional spaces are replaced with three dimensional spaces. In this age, we have multi surfaces of consciousness and multi perspectives that occur simultaneously. As we have multi layers of consciousness based of multi point of view of different observers, our perspective is nonlinear relative perspective.
An analogy between imaginative and paradoxical spaces have been done in Iranian miniature and cyber space in network world based on our cognitive linguistic achievements. In order to illustrate our analogy, the perspective of two different case studies have been compared: Auditorium of Seattle library (Designed by Rem Koolhaas) and central pavilion of Kashan Fin Garden.
At the end, the comparative table and analogical model achieved that help to explain the structure of the perspective for Iran contemporary architecture in the virtual era. As a conclusion, there is a double pattern, intrinsic-relative perspective, in which interface with two different scales: On the one hand, hyper realization when someone zoom on objects and on the other hand, simultaneous imagination when someone go far of the events.