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سال هفدهم شماره 87 (شهریور 1399)

Given that historic quarters as an integrated entity best represent the efforts of indigenous cultures to meet the past needs, their compatibility with the present needs and recognizing the opportunities available to them as an accepting capacity for cultural and economically productive functions are worthy of attention. Utilizing creative approaches in line with the historic fabrics adaptability to the new economy and conditions, through focusing on the cultural capital as a means of revitalizing historic neighborhoods and creating new economic activities to replace the declining uses or those being disappeared from the area, is the most significant necessity to Problem statement of the present research.

The use of innovative policies and creativity-based strategies for the presence of our country’s historic fabrics and neighborhoods in the competition arenas, aimed at the cultural-economic growth and development and neighborhood revitalization, is an approach whose absence is noteworthy within both relevant theoretical and applied fields.

This research based on an analytical and descriptive method to assess and measure the capabilities of historic fabrics, indexical contexts. Also, it examines the feasibility of a cultural quarter in a case study of Laleh-zar using the quantitative structural equation modeling through questionnaire and field observations and finally as Conclusion explains a model of historic-cultural quarters according to the priority of the actions.

The research findings prove the necessary solutions and measures based on the order of priority in the final model, the proposal and the importance of these relationships empirically.

 Based on Cartesian duality, human and the world around him are separated into two different issues, which is noticed more by the visualization of modern environments. Many phenomenologists sought to eliminate this gap. In this regard, Maurice Merleau-Ponty introduced the body as a matter of immediate consciousness by bringing up a body-subject theory. Perhaps it can be said that the idea of dualism in art and architecture has become more widespread because of the fact that the message of the artwork and the criticism which is formed is ignored in this era, and at the same time the integrity of the senses is ignored. Finally, it seems that in the architecture, the senses for body and perception like a cubism picture in which the subject of art is the form of space.

The purpose of this article is to identify the concept of body-subject and its impact on increasing the perception of the environment. In this regard, the main question of the research is: Does modern space architecture expand the realm of human consciousness?

This research, with qualitative research strategy and interpretive approach, attempts to determine the effects of modern architecture on observer’s consciousness by explaining concepts such as cognition, perception, experience, consciousness, embodiment specifically in architecture and their relationship with each other.

Differentiation in form, is observed as one of the results of critique (as the foundation of modern thinking) in different aspects of modern architecture and it is effective in interaction with the audience in creating his cognition. Form as the language of critique in modern architecture, leads to cognition, which depends on the concept of perception and conscious experience and it depends on embodiment concept itself.

The beauty of Iranian ancient architecture is still an essential question, which has invited numerous investigations. This requires even further contemplation in the milieu of present esthetic crisis in contemporary architecture and the associated vacancy of theory, particularly when our contemporary architecture is lacking any relevance to categorical beauty from the viewpoint of Iranian thought and architecture. Many studies inherent in the religious literature and the textual works by Islamic thinkers have attempted to deal with and explain this question. However, the only authentic sources to elicit and reveal the hidden layers of beauty are undoubtedly the remaining artistic works.

This study of Khaju Bridge, an authentic work remaining from the Safavid era, attempts to elicit the ontological foundations of beauty in this artwork and reveal how beauty has found its embodiment and form in the architecture of this building.

The phenomenological approach was adopted to disclose the nature of beauty and the lived experiences of four groups attending the bridge were studied under the influence of Max van Manen.

The findings suggest that contemporary architecture is no longer able to create beautiful and exhilarating spaces due to its lateralization towards form, function, or meaning. Indeed, architecture is beautiful when it can properly respond to the triad of form, function, and meaning. Moreover, seven components, i.e. vividness, selflessness, originality-authenticity, artistic richness, logicality, poetry, and thought-wonder, were identified as the ontological constructs of beauty in Khaju Bridge, to be used to create beautiful spaces in the process of their transformations into various structures.

 Chaharbagh Street, despite its physical and land use changes throughout history, is still considered as one of the main commercial and recreational streets of Isfahan city. Reviewing the history and evolution of historical sites’ architecture can provide opportunities for next refurbishment steps and finding resilience factors can be effective in planning for the design of new spaces. Resilience is a way to strengthen communities and cities by using their capacities, and one of the most important factors of resilience is the space which continues to preserve the identity of urban spaces during changes.

This research seeks to answer the main question of what factors have led to the resilience of Chaharbagh Street throughout the history relying on the hypothesis that planning is effective in reconstruction of historical streets according to users’ demand and the historical factors in resilience.

The research method in this paper is a descriptive-analytic method and to achieve this goal, first by referring to reliable sources four factors including physical, social, economic, and environmental factors are presented in resilience’ conceptual model. By field study and asking the people in this street, a closer look has been achieved and sub- factors for each of the factors have been addressed.

According to the results, the reasons for choosing this historical street and its users’ expectation of protective measures are in line with the historical features of the 17th and 19th centuries. The importance of different resilience factors differs from users’ point of view and the social and environmental factors are in a more favorable position than other factors .

The question of the research is: what are the types of images and their correlated conditions of apparition in Deleuze’s ideas?

The research method is qualitative content analysis.

The purposes of the article are to clarify two types of image, the conditions of their apparition as well as to determine the type of image of a painting in accordance with its conditions. It is assumed that determining the conditions of their apparition helps to determine its type. So, to clarify the types of images, the conditions of their apparition are studied. A painting by a contemporary Iranian artist has been reexamined for explanation of the issue.

For Deleuze, there are two types of images: the movement-image and time-image. Movement-image is comprised of perception-image, action -image and affection- image. Time-image is also composed of recollection-image, dream-image, the thought-image also crystal-image. The first type of image focuses on moving, controlling and reflecting, absorbing the effects of things, depending on particular actions. In modern period the time-image is the basis of the genesis of pure time. The time-image is the type of image with a coalescence of virtual and real images formed by the axis of time on the basis of the genuine relations of forces and their affects. It is formed by the spontaneous activity of diagram through the indiscernible and indeterminate zones that is impossibility. the research path shows the condition of apparition of painting as image, like “Untitled” that are based on color-force, color-space, color-light, and time according to color relations. These conditions, show the arrangement of the coalescence of the actual image of the human being around the artist with the virtual image of ascension to emphasize the status of the contemporary man.The final image as time-image brings about the possibility to think about the new meaning to the concept of man.

The path of human perception in the environment has always been through the connection of the human five senses with the physical factors in an architectural space. The process of perception by receiving environmental information through the human senses and then analyzing it in the mind that occurs after cognition leads to the creation of a sense in man. The most important feeling between man and place is called the sense of place. Due to the issue of the sense of place in the ‘60s and the importance of objective and functional issues in the modern era, the attention of theorists turned more to the human and semantic factors. Moreover, the physical themes that make up a sense of place and seem to be easy to avoid were less directly discussed. The position of physical factors, due to the inevitability of the physical elements in architecture, is clear, but given the process of perception as the link between man and the environment, a new perspective can be taken.

The research aims to explain the position of physical factors in the process of human perception of the sense of place.

Due to the physical approach in this study, the phenomenologists’ theories were used. Besides, after classifying the concepts, the physical factors were placed in three functional, semantic, and aesthetic fields. In the first stage, the data were collected by the form of documentary and library studies and then field studies in the environment as exploratory observation and finally through interviews with targeted sampling.

The case study is one of the sidewalks of Mashhad, Iran; after analyzing and summarizing the analysis of the perception process, it was concluded that physical factors through initial perceptions have the greatest impact on feelings about the place on the sense of satisfaction and secondary perceptions that are achieved over time affect the sense of place. The method of analyzing the interviews is in the form of qualitative and thematic content analysis and open and central coding using the Maxqda software analysis (Version 12).