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سال هجدهم شماره 104 (بهمن 1400)

 Originality and authenticity of architectural works have been examined from the legal, artistic, restoration of historical buildings, and architectural theory viewpoints. The issue of originality in the contemporary architecture of Iran has been the focus of many specialized and public journals; however, in scientific research’s discourse, criteria are vague. Therefore, the question is what are the criteria of originality and authenticity in contemporary architecture? To scientifically enrich the discourse of originality, the Tehran Museum of Contemporary Art, one of the most important contemporary projects in Iran, was chosen as the case study based on the proposed criteria

This research aims to clarify the differences and similarities between the terms authenticity and originality and to propose criteria for measuring them in contemporary architectural works.

This research employs mixed interpretive-historical strategies and logical reasoning through consultation with bibliographic data.

The “Original” scheme has exquisite features that have not been seen before. An architectural work can be named “Authentic” if it has the following features: 1- imitation of elements or idea, 2- presentation of creativity and innovation in its composition, 3- alliance with and influence on the context and society, and 4- explicitness and honesty. The comparison of the case studies in terms of aspects of form, spatial organization, circulation, and the materials revealed that Tehran Museum of Contemporary Art has not presented its distinguished elements of form for the first time, therefore, it cannot be considered  “authentic” work from this point of view. Despite these outward similarities, four other criteria can be identified in the scheme of the museum which can give it eligibility to be considered “creditable”.

Tongborie” is one of the dependent elements of architecture in the Safavid Iran and Mughal India eras. Safavids and Mughals cultural and political relations have had a significant role in art influence between two countries so that many arts including Tongborie decorative art which is known as “Chini-khana” in India has gained popularity because of these relations. The main statement of this study is investigating these works in terms of form and application in the architecture of the Safavid Iran and Mughal India eras. This study determines different attitudes of artists in the application of these patterns in the monuments of two lands by investigating form features, patterns, and Tongborie application techniques.

The main objective of this study is to investigate how cultural relations between Safavid  Iran and Mughal India influence the evolution of Tongborie objects, the recognition of form features, and the use of these designs in monuments of two countries. The secondary aim is to use of resulted knowledge in designing jewelry and handcrafts which has not been addressed in this article.

The present study has been based on historical findings analysis and description of patterns based on theoretical and visual knowledge and data collection methods including a field survey of monuments, study of internal and external creditable sources, and obtaining knowledge from experts.

This study shows that the decorative element of Chini-khana has entered Indian art under influence of Iran Tongbories and can be categorized into three general forms “Altar”, “Container”, and “Epigraph” Techniques and materials used in Iranian and Indian models have had differences. Iranian Tongbories have been used in interiors with more variety of forms. In contrast, extent models in India have had a variety in mason techniques and have often been used in the landscaping of external surfaces.

 A number of theories have been proposed about the relation between culture, lifestyle, architecture, and spatial structure. The ‘Closet-Space’ or ‘Sandogh-Khaneh’ is an example of this implication. It was considered as a side element in traditional Iranian houses that used to assist the architect in creating the spatial proportions in some cases, but actually, it had a functional role in creating the interior space in traditional Iranian houses.

The purpose of this research study is to investigate the role and function of the ‘closet space ‘and to address its location in traditional Iranian houses; A few Yazd traditional houses have been considered as a case study.

The research adopted the analytical- descriptive analysis. Following the collection of the data through the bibliographic method, and observations were carried in the field. In bibliographic studies, various resources such as books, prestigious journals, and architectural plans were used for gathering the required information.

The findings of the study showed that ‘closet space’ used to play a functional role in creating the privacy and interior space of traditional Iranian houses. A kind of space was allocated for recreation, prayer, meditation, or storage of various tools and equipment; A place next to the key spaces of the house or in a corner place of that space, where its function was also affected by the location.

Branding of commercial complexes is considered as a factor contributing to economic prosperity in cities, attracting tourists, and improving environmental qualities. The design and construction of commercial complexes are among the key factors in branding these centers. The form and facade of buildings and their decorations and details are among the visible and tangible features of buildings that, in addition to their features and functions, can be used as a potential to attract audiences. Commercial complexes in the 2010s in major cities, especially Tehran, have grown and expanded significantly. Their branding can play an important role in the economic prosperity of Tehran, and in building up a good reputation for this city.

This study attempts to identify the role of the form and facade of commercial complexes in branding these centers. This study also seeks to find out how the role of form and facade of commercial complexes in Tehran changes, and determine the degree of its compatibility with the global approach towards this issue.

The method of the present qualitative research is descriptive and analytical. In terms of purpose, it is an applied study, and the data was collected through the bibliographic method and field studies.

The results of this study show that the improvement of the visual quality of buildings being in a favorable connection with the context, in addition to the increasing attractiveness, the establishment of unique and symbolic projects, the interaction with the city, and the display of culture and history, are among the physical branding strategies that are reflected in the design of the form and exterior of commercial complexes. The facades and decorations used in commercial complexes represent the use of modern technology and a medium for conveying the intended messages by the brand owners. The results also show that before the 2010s, the strategies for attracting visitors to commercial complexes were more of pretenses of being up-to-date, while in the 2010s, the roles of design and construction in branding of Tehran’s commercial complexes are almost synchronous with the world, and the design of commercial complexes with distinctive shells and decorations has grown.

 The Iranians set about creating unique scripts in the early 14th century, resulting in introduction of three scripts: Tali’q, Nasta’liq, and Shikasta Nasta’liq. It remains apparent that the development of pens did not occur overnight, but rather over time.

The primary goal of this study would be to investigate the trend of growth in individual letters (Mofradat) in Nasta’liq. Another objective of this study is to argue about how Naskh and Taliq have encouraged the emergence of Nasta’liq. 

As a contrast, we used letters in Baysonqori Shahname as an index of Nasta’liq following Mir Ali Tabrizi. We began comparing anthology scripts after identifying and classifying early Nasta’liq in Taj al-Din Ahmad Wazir’s anthology. According to what has already been stated, and also based on the belief that Mir Ali Tabrizi improved Nasta’liq and it appeared in Shiraz before that time, along with Taj al-Din Ahmad Wazir’s anthology in the University of Isfahan’s Central library, which is a valuable manuscript dating from 1380 . in Shiraz for Taj al-Din Ahmad Wazir during the Shah-Shojae kingship in Fars (1359-1385), this article deals with the formation of Nasta’liq separate letters (Mofradat) in 14th century in Iran.

The evidence suggests that Mir Ali Tabrizi is not the sole founder of Nasta’liq, but that he has just ordered the script according to some criteria. According to some documents, the early Nasta’liq script was also encountered in Shiraz at the same period as Mir Ali Tabrizi. On the other hand, the Nasta’liq script can be described as a hybrid of two script rules: Naskh and Taliq.

Vaght o Saat Square is one of the oldest and most important historical squares in Yazd. This square was located within the Rokniyeh school complex in the eighth century A.H.. Due to the famous observation of Vaght o Saat, this name has still remained on this square. For this reason, most of the research that has been done on Vaght o Saat square focuses on the historic background of the square in the eighth-century A.H, while in the current situation, none of the elements surrounding the square belong to the eighth century AH, but pertain to more contemporary periods.

Introducing historical evolution and layers of Vaght o Saat square

In the data collection section, comprehensive data on the history of the square is collected by using a mix-method, referring to various references such as local history, contemporary historical research, field evidence, the archive of historical photographs, aerial photographs and especially using oral references. In the analysis section, through applying descriptive-analytical method and relying on the interpretation of historical texts and documents, the history and evolution of the Vaght o Saat square are explained from the outset of the Pahlavi era to its end.

The results of this study show that the oldest element enclosing the square in its current state is the water reservoir of Vaght o Saat. Also, most of the buildings surrounding the square belong to the Qajar era. In the Pahlavi era, important developments took place in the square, which are: 1) Construction of two buildings in the first Pahlavi era on the north and south sides 2) Construction of a building in the second Pahlavi era on the south side 3) Reconstruction of Afshar school 4) Interventions in Mesgarnejad house 5) Restoration of the tomb of Seyyed Rokn al-Din 7) Discovery of the Zarch Payab and its reburial 8) Renovation of Kalak`s façade.

 This study attempts to examine the decorative motifs of mosques (Atiq Mosque in Shiraz and Cordoba Mosque in Cordoba) in Iran and Spain in the third century A.H. These decorative designs are in accordance with the beliefs of the people of the region and regardless of all their differences, they share common goals in the Islamic world and through these designs spiritual and mental concepts are conveyed. Decorative patterns, which are symbols of the elements of nature, are rooted in Iranian-Sassanid art; Byzantium and have been continuously repeated as motifs in the art of the Islamic era.

This study attempts to compare the decorative motifs of the Atiq Mosque in Shiraz with those of the Cordoba Mosque in Cordoba with a contextualist approach.

This article used a descriptive and analytical method to study the decorations of the Atiq Mosque in Shiraz and the Cordoba Mosque in Spain and to identify similarities and shared symbols.

Decorative designs in Islamic art are derived from the beliefs of people over the centuries. The continuity in Islamic art has spread from Iran to the Islamic world.  The architectural formation of Atiq and Cordoba mosques is not contextual, because they are built based on the pattern of the Prophet’s Mosque-Shabestani columnar mosque. However, the decorations of both mosques are contextual and inspired by Sassanid art in Iran and Byzantium in Andalusia.

 Though it has not been a long time since design research emerged as a branch of science, the consistent creation of architectural works proves the existence of design methods. Such methods have developed even though knowledge about them is limited. Some methodologists have identified methods characterized by timelessness. These methods are important because they have constantly revealed themselves in the history of design. This research aimed to analyze the Grand Mosque of Fahraj to investigate the role and effect of the narrative method on the way this mosque has been designed using the intertextual analysis method. The research problem concerns the effect of the narrative method on building the Grand Mosque of Fahraj and addresses the quality of narration of the Al-Nabi Mosque’s designer as a source of analogy for its design.

This study sought to investigate the effects of the narrative method on creating and building the Grand Mosque of Fahraj.

The research employs a qualitative method. After reviewing the written sources, as data collection method, the theory of intertextuality was used to analyze the work as a text, as the architectural design method was also examined.

The Grand Mosque of Fahraj seems to be designed through a narrative design process. This narration is based on Al-Nabi mosque which is regarded as a source of analogy for design in the Grand Mosque of Fahraj.