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سال هفدهم شماره 89 (آبان 1399)

Architecture, which is an integral part of a culture, arises from social and political contexts of each society. Use of monumental tombs in some geographical regions forms an important part of the civilization of a country. Considering the religious significance of these buildings in Iran, after the advent of Pahlavi, a new insight into architecture of memorial and monumental tombs was formed, which is mainly due to social and political contexts of the years 1921 to 1978. Knowledge about this context, and the way it has been created, can provide a better appreciation of how memorial tombs have been formed in this period.

This research aims to investigate the influence of political and social currents of 1921-1978 on the creation of contemporary monumental tombs of Iran.

In this research, first, case studies were selected after field visits. Then, through library studies and document analysis, the political and social currents of the period contemporary with these buildings were analyzed using a historical-interpretive methodology, and the influence of these developments on the society was studied. This research investigates what political and social currents influenced the creation of monumental tombs of 1921 to 1978, and how these currents influenced the architecture of monumental tombs.

Analysis of available documents demonstrates that social and political developments in the first Pahlavi era including westernism, anti-religionism and an attempt towards national unity had a direct influence on selection of people that were memorialized by the monuments as well as the structure and shape of the monuments. Also, as these developments continued in the second Pahlavi period, they influenced the architecture of monumental tombs through the cultural context formed as a result of the relevant developments. In addition, compared to the previous period, design of these buildings were more influenced by the architects’ personal approaches and global society’s developments in art, leading to a change in form and details.

The decoration is one of the main foundations of architecture art. Ornamentation using plant motifs in different artistic ways has been a response to the human need for nature and its preservation in the environment. Hājiyābād Village in Varamin has been a tourism target. The village is located 25 kilometers east of the historical city of Varamin at the gate of the desert and has mansions dating back 400 years to the Zandieh and Qajar periods. One of these buildings is Bani-Ameri’s castle-like house which has been registered as the national monuments of Varamin. This monument is at the risk of being ruined. Lack of residence, abandonment, and lack of care and maintenance of the building have exacerbated the damage process and have destroyed one of the turrets. According to the owner of this building, this monument is 250 years old and belongs to the period of Fath Ali Shah Qajar and built based on Iranian-Islamic architecture (four-Ivans). The castle-like house is variously decorated by plant, animal, human, and geometric motifs.

The purpose of the research was to re-examine the identity of the stucco motifs in this mansion. To answer this question that which historical period has influenced the shape of stucco motifs in Bani-Ameri’s castle-like house, we carried out a field study in Hājiyābād Village in Varamin and we analyzed the decorations of stucco motifs of this building. Based on this assumption that the shapes of stucco motifs of this building had been influenced by the works in Sassanid, we examined to see if Bani Ameri’motifs correspond with the decorative motifs of the Sassanid period.

This historical study is descriptive-analytical in nature. We gathered the data from documents and observations to examine the extent to which decorations match the Sassanid tradition.

With regard to the strong historical background of architecture in Varamin, the relics belonging to the Sassanid period, and based on the studies and careful examination of motifs in the house-castle of Bani Ameri, we found significant similarities between the motifs of this house with those of the Sassanid period. Analyzing visual qualities, form, architectural technology, content, and symbolic meaning of the designs as well as the paintings of this house confirmed that the influence of the motifs from the art in the Sassanid period.

Walls along urban streets are one of the most prominent aspects of the architectural design affecting the aesthetics of urban landscapes. Hence, these walls are environmental elements capable of elevating the aesthetics and visual qualities of urban spaces. One of the main issues in big cities is the rise of local temperatures due to high concentrations of carbon dioxide. Meanwhile, quality control initiatives are mainly focused on the sources emitting carbon dioxide.Moving toward environmental architecture and urban design, adjusting the design strategies, and inventing new solutions to restore balance to nature while satisfying today’s human needs has resulted in the increasing development and use of vertical green systems throughout the world.

the objective is to provide a solution for integrating microalgae bioreactors with building façade to absorb carbon dioxide and to decrease the air temperature while preserving the identity and integrity of the building.

Considering the novel and multidisciplinary nature of this study, a compound methodology is required. This is a descriptive-analytic practical study. Hence, using bibliographic documents and scientific studies at first, microalgae are defined and examined for absorbing air pollution. Then, the façade of Enghelab Street is chosen as a polluted urban center. Finally, after identifying relevant surfaces for installing bioreactors, the façade of Enghelab Street is redesigned.

Using microalgae as alive microorganisms capable of absorbing carbon dioxide, and integrating them with building facades by bioreactors, converts these walls to photosynthetic surfaces. These surfaces respond to climate changes, improve the passive thermal performance of the building, transform an ordinary building into an alive building, and convert the walls into energy-producing factories.

Today, the status and values of architecture and indigenous habitats and their conservation have become increasingly important, and for this reason, the idea of creating open-air museums is expanding. Despite the variety of topics, these museums have one thing in common, and that is the transfer of structures from the original location to the museum. This study is concerned with the main problem as the manner of conserving hidden values such as authenticity when moving the piece from the original location to the open-air museum. Also, with what changes would be made in the authenticity of the work and the environment around it, in terms of principles of architectural conservation, by dismantling and transportation of house components from the original location and reconstructing them in the new space and the museum?

The study aims to investigate the authenticity of the works in open-air museums and the impact of the surrounding environment on the authenticity of their spirit.

This article uses a descriptive-analytical method with documentary and field tools, and experiences obtained from the project of Guilan Rural Heritage Museum. Considering the importance of the subject, this is a fundamental-applied article.

The study found that although by separating an architectural work from its original climate and environment, the authenticity of the work’s spirit and the surrounding environment is distorted, but based on the comprehensive view of the theory of the authenticity of existence (Existentialism), the continuity of the integrated existential movement of the work towards perfection is still sought after. Also, the creation of facilities to preserve and save the body of the work in another place, providing the opportunity for people to get acquainted with architecture, customs and unwritten knowledge of architecture, and its material and spiritual information, thus justifies the change of materials and even the change of use and spatial context of the work.

Form is a fundamental concept in the discourse of architecture that has been affected by the evolutions of architectural thinking. The non-systematic accumulation of form concepts results in ambiguity in contemporary discourse. On the other side, disregarding the dynamic nature of form, and poor identification of the factors influencing its evolution, and its application domains have made form a frozen concept and have reduced its effectiveness in responding to today’s architectural issues.

this paper concentrates on clarifying and organizing the diverse concepts of the form. Besides a theoretical framework is provided to guarantee the conceptual dynamism of the form.

Present research is conducted based on Foucault’s genealogy approach. First, the original conditions of the first appearance of form in philosophical thinking are examined, then based on the results obtained, is referred to revolutionary theories of architecture. The fundamental evolutions of the concept of the form will be analyzed, and finally, a critique of today’s form status is provided.

According to the findings, the evolution of the concept of form is originated from the evolutions of philosophical knowledge of architecture from at least three perspectives: ontology, aesthetics, and epistemology. Among these factors, epistemological approaches have made the most substantial contribution to the evolutions of form, from pre-modern to the contemporary era. The evolution of philosophical knowledge of architecture has led to the formation of six conceptual limits of form, including appearance, idea, type, structure, meaning, and affordance. Each of these concepts has limited the architecture to specific aspects; however, introducing the concept of “form field” helps to gain a comprehensive understanding of architecture while providing a framework for organizing the form concepts. It also ensures the dynamics of this concept in line with the evolutions of philosophical knowledge of architecture.

Current cities with their physical and spatial components have hidden the disease symptoms in their parts and the landscape architecture as the health cycle of cities creates mental health there. Rapid growth of depression symptoms, especially in women, has made it necessary to identify the therapeutic methods, the effectiveness level of landscape component, finding a common pattern in the urban context and proper urban areas in the current situation to fully utilize the potential of metropolitan areas in favor of women. It is expected that by ever-increasing growth of mental illnesses such as depression, in a metropolitan city like Tehran, it is required to conduct studies on mind, spaces in cities will be ready to improve mental health and reduce women `s depression.

Tehran with gardens which are the main parts of city public places, welcome people , having health factors, are considered as health micro climates and can be applied as improving factors of environment in treatment duration to reduce mental illnesses specially women`s depression. The purpose is introducing the architecture landscape components in gardens for the aim of women`s health. to use such buildings in treatment space specially mental health.

To respond to the research queries, the researcher starts collecting the documents of relevant research and petitioning the psychoanalysts, psychiatrists and environment designers` views with the help of interview and questionnaire processed, data connections were analyzed with non-parametric Kruskal–Wallis test.  

The current study of regular geometry in motion routes and elements, allocating 1/ 3 of the area to water presence and considering its hierarchy, average plant density with accurate plantation in terms of height, variety of species, lighting similar to natural light, public lighting organizing and created shadows, green and yellow in a regular array of floor and natural material will be main elements to improve the space for women`s depression.