نشریه مرمت و معماری ایران
پیاپی 20 (زمستان 1398)

Imagination and its relation to creativity are among the most important issues related to the design category in various areas of architectural inquiry such as architectural design, whose function and role have changed in recent decades due to use and application of computers in the architectural design processes. Given all the changes occurred in the meaning and concept of architecture, by the interaction of designers and architects with computers, now the question arises that how the role and function of the creative imagination have changed in digital architectural design processes, compared to its role in non-digital design processes? The purpose of this research is to explore the concept of creative imagination from the point of view of the phenomenological philosophers, especially Jean-Paul Sartre, as well as to compare the differences between the role of creative imagination and its role in the digital and non-digital architectural design processes. This article first explores the concept of the imagination from the perspective of Sartrechr('39')s phenomenology, and analyzes different kinds of imagination related to its design and function in the design process, and after introducing the effective aspects of the digital architecture design on the process of architectural creativity, it examines the role of creative imagination in digital architectural design process. In the last segment of the article and by way of conclusion, the authors compare creative imagination in the digital and non-digital architectural design in order to present a comparison diagram of the creative imagination in both processes, which shows that due to the presence of computers in architectural designs in architectural designs, as an architectchr('39')s colleague, in comparison to design processes carried out without using computers, not only weaken the role of the designerchr('39')s creative imagination, but also computers can push the boundaries of humanchr('39')s imagination beyond the realm of his/her experienced senses, by covering the weaknesses and limitations of human mind.

The geometric decorations are among the most widely used decorations in Islamic art, which have been used alone and sometimes in combination with other motifs or inscriptions. The plaster Mihrabs related to 6th to the mid-8th century AH, coincided with the Seljuk and IL-Khanid eras, are among the works that in addition to various plant decorations and inscriptions, are decorated with various geometric and beautiful ornaments. The goal of this research is to introduce and compare different kinds of geometric ornaments used in the plaster Mihrabs of the mentioned centuries in terms of diversity, constancy or repetition and place of application in different parts of the Mihrabs. Therefore, the main question of this research is arisen as follows: What are the geometric ornaments of the plaster Mihrabs made between the 6th to the mid-8th centuries AH and what are their similarities and differences in terms of the type of designs and their place of application in different parts of the Mihrabs made during the Seljuk and IL-Khanid eras? The data was collected through field research, i.e. photography, and linear designing of the images, referring to the written resources and was analyzed through a comparative-historical method. The results, obtained from studying 40 plaster Mihrabs made during the mentioned periods shows that in both eras, the majority of ornaments are composed of numerical knots on the basis of six, like “six and roundel”, “six and three rounding fairies”, etc. that are mostly seen on the half-columns and opposite or side walls of the plaster Mihrabs. The geometric, zigzag, chain and wicker-like designs have been repeated frequently along the narrow margins. The most significant differences of the Mihrabs made during IL-Khanid dynasty in terms of geometric ornaments are using more knots, simple geometric figures, more detailed and diverse geometric designs along narrow margins and combinations of knots with motifs (flower and leaf).

Self-actualization is a high level of human requirement and as an existing need, which is the tendency of an individual to grow and realize available potentials. Establishment of suitable spaces at universities can help fulfill such a necessity. At present, a problem of universities is that the communal spaces are often used to meet the basic physical needs and fundamental requirements of students, In other words, communal spaces of a university have not been designed and built according to self-actualization and richness. The purpose of this research is presenting designing components of university’s communal spaces for empowerment of students’ self-actualization (achieving students’ self-actualization). The research method was combinatory; both qualitative and quantitative methods, consisting of documentary, qualitative content analysis, survey method by using the Delphi- technique and causal-comparative that it has done in four steps. The relevant literature was studied using documentary method in the first step and factors affecting self-actualization were identified. In the second step, primitive list of spatial attributes with relevant categorization were identified by using the Delphi- technique method in three rounds. In the third step by using the causal-comparative method, closed- questionnaire according to findings of the second step prepared and distributed in statistical population. The findings were analyzed by using Multivariable Analyze of Variance (MANOVA) and most important spatial attributes affecting self-actualization, were obtained. In the fourth step, the list of designing components that spatial attribute need for forming in the space extracted from resources and surveys of experts, then questionnaire for checking the effect of designing components on forming spatial attribute prepared and distributed among experts. The result of this step is extracting designing components of university’s communal spaces. The results of research showed that the most important attributes that must be exist in communal spaces to lead to self-actualization are privacy and solitude, space presence ability, simplicity in environmental organization and socialization.

The internal architecture of the trade centers and the promoting their environmental quality, as an important factor affecting the behavior of customers, impose significant contribution to market as well as individuals’ desires to stay longer in the space.  Considering the completeness of sustainable place model theory in the form of three criteria of functional, experimental-aesthetic, and environmental qualities, the present study aims to examine functional quality in trade centers. Considering the history of trade centers in Iran, including traditional markets and on the other hand, paying a close attention to successful instances of present trade centers in different parts of the world with having economic role and providing places for the formation of social interactions, the main question of the study is “What are the solutions for interior designing of trade centers in terms of functional quality in traditional markets and successful business centers, in order to establish effective social relationships?” Therefore, the purpose of the present study is to introduce the criteria and micro-components of functional quality (user, behavior setting quality, domain, and security) in order to promote social interactions and explain interior design solutions in the trade centers. The method is descriptive-analytic, and the concepts are extracted by content analysis and coding of data collected by MAXQDA12 software. Following that, from the solutions based on micro-components of functional quality, a survey of design experts was conducted in the form of a questionnaire and the results were analyzed by SPSS software. Finally, from evaluated design solutions, the user’s prediction of user’s micro-components, the space available to sit, wait, and watch related to the quality of the behavior setting, as well as determination of the scope of special uses by flooring and security with the highest priority, were extracted.

Abbas I, like many other Iranian kings, devoted special attention to the Jame Mosques. Following Isfahan’s election as his capital, he was trying to renovate the Bazaar and the old mosque, which was faced by the opposition of landowners at the time. Then he decided to build the Naghsh-e Jahan square and set up the Jame Abbasi as a new Jame Mosque in the city. In this paper, the two main components of the Jame mosques have been investigated, Friday prayers and e’tekāf, and its aim is to recognize the status of Atigh Jame Mosque, socially and politically, after establishing Shah Mosque. The method of this paper is historical-interpretative and uses the primary and secondary sources to achieve the result. Friday prayers were revived with the help of prominent Shiite jurists in the Safavid period and the first prayer was held in Atigh Jame Mosque. Abbas I, after completing Shah Mosque, delivered Friday prayers to this mosque, and the mosque was also the main venue for Friday prayers in the next periods. In the same period, the discussion of withdrawal of e’tekāf also caused many quarrels among the jurists. The contemporary jurists of Shah Abbas issued fatwas, about e’tekāf, that let it held in other mosques like Shaikh Lotfollah Mosque. For this reason, it was not confined to Atigh Jame Mosque. Shah Abbas set up an economic stimulus, Naghsh-e Jahan Square and Shah Mosque, and tried to boost this new focus in Isfahan to counter the rivals, the Old Square and Atigh Jame Mosque. The result was that Atigh Jame Mosque was overshadowed by Shah Mosque, and specific religious, political and social activities of Jameh Mosque, such as Friday prayers and e’tekāf, were comprehensively conveyed to Jame Abbasi Mosque.

The Shrine of the Imam of the Eighth Imam has been the site of dedication to many artists, including carpenters and pilgrims. The wooden works of window, door, Menbar and part of the Zarih in this place from the period of the Ilkhani to the contemporary are protected. Still on the passages, a number of doors are installed and a number of others are kept in the central museum of Astan-e Quds. The aim of the paper is to compare the collection of wooden artworks, especially the content and content of the works. Thus the question that arises here is what are visual features of the inscribed wooden works of the shrine, and how their content classified? The method of this fundamental research is descriptive, analytical, and comparative, and the data collected based on library data, and in particular field studies. The findings show that there are a total of thirty four inscribed wooden works. The inscriptions on the various sections of the works have been written with Roqaa, Sols e Jali and Khafi, Kofi Banaei and Nastaliq calligraphies. The content of the inscriptions is analyzed in seven forms: historical inscriptions, endowments and creators, Quran, praise and thanksgiving, divine names, and the names of the Imams, Shahadati and narratives. The artistic richness and content of these works reveals the evolution of the art of embroidering and woodcarving in the history of traditional Iranian-Islamic art.