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سال هفدهم شماره 84 (خرداد 1399)

 From the perspective of modern sciences, fractal knowledge is a study of self-similar and self-organized structures that are the conceptual core of understanding nature’s geometry. From a mathematical viewpoint, nature follows fractal rules to create different forms. In this rationale, a direct interaction between architecture and fractals can be proposed.Research

This research, by posing questions about how fractal geometry is applied, explains the geometric laws of nature in the process of self-organizing in form-based architecture.Research

This applied research employs the method of correlation in applying geometries according to fractal properties conducting a qualitative, phenomenological view. In this study, seven stages are explained in fractal geometry as a form-based structure. These stages in form-finding, the hierarchy of connections, and geometric progressions provide a credible process in the application of fractal geometry to architecture. In addition, an architecture inspired by principles of nature’s geometry is based on three laws and functions in structure as described by the research: the law of self-similarity, the law of self-organization, and the law of unity. To validate these laws, three buildings are selected from the Gothic, Art Nouveau, and traditional Persian architecture periods, according to fractal properties. Fractal rules are analyzed in the evaluation of these structures using a comparative-descriptive model.

Based on the results, it can be concluded that fractal geometry has been incorporated into the structure, elements composition, and aesthetic concepts of ornamentation in the architecture of these edifices. Inspired by nature’s geometry, laws of proportions, rhythm, and self-similar forms, these architectural structures have created a wide range of fractal patterns, generating internal connections and external unification among the structural elements and architectural forms.

 Recognition and perception of contemporary Art-works including conceptual art as the first postmodern art movement can only be understood in the light of George Dickie’s institutional theory George Dickie by introducing the fundamental components of his institutional theory such as artifact, artworld and granting the artistic dignity to a work, opens way for the arrival of pre-made and readymade works to the art field. The conceptual artist such as Marcel Duchamp, Barbara Kruger, Keith Arnatt and other similar artists although might create artworks lacking aesthetic qualities , but since the world of art - which George Dickey says is composed of “Artists, Museums, Art critics, Educators, and so on” - gives these works the competency of granting artistic dignity and, as a result, they known as artworks.

The purpose of this paper is to adapt the fundamental components of the George Dickie’s institutional theory to the artworks of some conceptual artists.Hypothesis: Since many artworks created by conceptual artists correspond to components such as artworld, artifact and the nature of artwork in the targeted institutional theory, so it would be possible to analyze and adapt the philosophy of such work to the institutional theory of George Dickey. Research

The research work is performed by a descriptive-analytical method.

In George Dickie’s viewpoint, the characteristics of artifact and artworld are fully compatible with the artworks of conceptual art. In fact, there is nothing in the essence of a creature or work that be able to makes it an artwork, but rather it is the artistic dignity that matters here, which can be fulfilled by components like artworld. Therefore, from this point of view, all artistic theories which are based on the aesthetics` qualities and characteristics are challenged, and thereupon the concept of good art or bad art will become out of value.

 The revitalization of the “garden” as a symbol of a permanent relationship with nature, requires recognition of the Persian Garden’s geometry. The people who have previously experienced the garden with its main function, have drawn pictures of the garden, and the investigation of their works can give us a complete perception of the garden’s geometry.

The current study aimed at explain the geometry of the “Dargazine gardens” in  Matrakî’s miniature. Obviously, the provision of this geometry does not necessarily mean the use of the same geometry in the present setting in the same form, and it is only the indication of a part of the human-nature relationship’s history. Hopefully, this path would continue with the aid of the past people’s efforts and experiences.

The present study employed the historical interpretation method with exploratory approach. This study seeks to answer this question “what are the features of the garden’s geometry in the time and place in which the miniature has been drawn?”.

The information of the miniature was retrieved in two levels. The cultivation system, the irrigation and fair division of land, architectural components of buildings, and the geographical orientation and slope can be perceived  by the first glance. However, the measures adopted for the welfare, comfort, and security can be obtained through further analysis of the placement of the neighborhoods, the entrance gates   gates, planning of different trees, and the water passage and supply forms.

In the design evolution of higher degree educational complexes, there has always been a combination of closed space and open spaces; many examples of it in Iran, European, American, and Asian countries. Research shows that campus universities have an important role in creating high-quality educational environments and can help students become more involved with higher education institutions. However, the design of university campuses in Iran is often based on predetermined designs, regardless of the behaviors and needs of the users of such spaces. Identifying and assessing students' needs and desires and the reasons for using / not using them from academic spaces can help create meaningful spaces.This research seeks to review university campus design based on behavioral studies. The case study is the campus of Babol's Noushirvani University of Technology. The qualitative method of this research is based on observations and interviews. The results show that the highest number of activities occurs in green spaces between the schools. On the other hand, quiet spaces are more desirable for activities such as studying and getting focused. Considering the places where the furniture is installed, and using different types of furniture based on activities while considering the climate can increase the quality of the campus. In this regard, attention to the landscape edges can play an effective role in campus design in dense urban spaces.

The necessity of regeneration in worn out fabrics, which is the range that is less effective than other peripheral fabrics, is obvious and clear, and one of the policies in this field is the definition of catalyst projects. In summary, catalyst projects are one of the most recent approaches to urban regeneration literature in Iran and in the world, and with their proper location, the fabric of the area in which these projects are located are revived and developed.

The objectives of this study are to determine the location indices of catalyst projects with emphasis on physical issues and to identify potential areas for defining catalyst projects in the area of two region of Tehran's 18th municipality
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The type of applied research and research method is descriptive-analytic. Data gathering tools included questionnaire, library studies and observation. In the location section, the AHP method is used in GIS software.

The results show that different indices such as population and construction densities, age and quality of buildings, level of culture and literacy of the community, mixing and diversity of uses and activities, etc. to locate catalyst projects with emphasis on physical dimension is extracted from the views of scholars. Also, by applying these indices to locate potential zones, for defining catalyst projects in the problematic texture in the area of two region of Tehran's 18th municipality, 3.99 hectares (14.04%) of the worn out texture of the studied area have the least ability to formulate catalyst projects (the western part of the contaminated area of the region two) and 9.66 hectares ( 34%) of the studied area has the most ability to implement the catalyst projects (the eastern part of the area of region two) and the major areas suitable for placement in the central parts of the texture and areas of Shahid Rajaee and Sadeghieh.

Hermeneutic phenomenology is the establishment of existential relations. How these relations can be manifested in human being in the world is one of the most important concerns of philosophers, including Heidegger - the famous German philosopher. Hermeneutic phenomenology seeks to understand the experience of life and use it to improve conditions. To this end, the designer can provide a design in which the prior experiences and concepts are used to serve the basic needs of the product (the existing being). Certainty does not matter in the nature of hermeneutic phenomenology, but also its work is to describe and interpret the human experience in the world. So this research provides a description of phenomenology that can be linked to the world of products by applying it to the product design process. This paper intends to provide an interpretation of phenomenology that can be considered and implemented in the design process. In this regard, this notion is further clarified by elucidating certain steps from it that include 1.Temporality 2.Establishing a meaningful relationship with having-been, presence and futuristic 3.Establishing a network of existential relationship between human and product 4.Establishing a hermeneutical relationship 5. Disclosedness. The result of this paper makes it clear that not only can use the phenomenology approach in product design, but also the case studies show that the use of this method during the industrial design history has been able to influence the success of products in relation with users.