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سال نوزدهم شماره 106 (فروردین 1401)

The architecture-painting relationship is one of the study fields in the theory of art and architecture. Although architecture is a combination of practical concepts, it can be studied in relation to painting focusing on form and space. Meanwhile, in creating an artwork, if an “artist” is assumed as a fixed variable; the question is that how his intellectual structure affects the creation of form and space in two media, and how it connect the two art regimens.

This study addresses the works by architects who work in both areas. It is assumed that the architect’s skill from the distance of imagination to depicting mental schemas as a painting leads to the dissemination of his thought, affecting the creation of his architectural work and spatial thinking.

The present study was performed using a qualitative comparative analysis technique concerning Kerry Walk’s model. The study model was a combination of spatial tendencies and semantic approaches of form and space. In the first section, the paintings by Mehrdad Iravanian and Alireza Taghaboni were analyzed using Wolf Lane’s formalism method. Next, the concepts of their architecture form and space were examined. The achievements were concluded based on theoretical studies and experimental data through a descriptive method. Finally, a comparative analysis was performed to clarify the architecture-painting relationship.

It seems that the artist deals with the objective concepts of the work at the levels of “basic” and “functional” in two completely independent areas, and the subjective concepts at the “value” level, which can be adapted to the intellectual structure of the artist. At the “symbolic” level, by transferring some formal approaches from painting to architecture, the architectural work gets closer to its artistic aspect and acquires an aesthetic aspect.

The present study attempts to examine the effect of Russian wooden house architecture on Gomishan’s wooden houses. To this end, the forms of wooden houses of Turkmens in Gomishan and their Russian counterparts were examined from different perspectives such as materials, building style, physical features, aesthetic elements, and visual elements.

The significance of this study lies in defining the relationship between the cultural characteristics of Turkmen tribes and those of Russian Tribes with whom they used to interact. The main question of this research is what relationship exists between wooden houses in Russia and those in Gomishan. Theoretical findings of the current study highlight the interdependency of tribes’ architecture and the role of culture and cultural interactions in the formation of houses and their various parts in different tribes in the past.

This study adopted a descriptive-analytical method based on a comparative research approach. Data were collected through the library method and field observations. The social and cultural principles of Turkmen tribes were compared with Russian traditional tribes. Then, similar elements and attributes between them were identified. Moreover, the effects of the extracted attributes on Gomishan’s Turkmen houses were investigated. The architectural culture of Russian wooden is considered the independent variable of the study while the architecture of Gomishan’s wooden homes is regarded as a dependent variable.

The results of this study indicate that Russian wooden houses have influenced the architecture of Gomishan’s wooden houses, spatial allocations, façade, and aesthetic elements as well as building tools and methods. This effect is rooted in the interactions between their cultural and social thoughts and beliefs. It is concluded that the cultural, local, and climatic elements of Turkmen tribes have been merged with the cultural and local attributes of Russia. This has resulted in a special type of architecture that is compatible with their cultural characteristics from many aspects.

 Almost constant winds blowing throughout the year have always been the main feature of the region of Sistan since ancient times. This climatic phenomenon has had a significant impact on the lifestyle, livelihood, and architecture of the residents of this region and has forced them to devise creative solutions to deal with the harmful effects. However, these people have also developed various techniques and methods to harness the power of this natural force. The creativity of the residents in dealing with and utilizing the winds of Sistan has greatly influenced the built landscape of the region and the lifestyle of its people. Individuals who have visited this land in different periods throughout history have mentioned this influence and have discussed the techniques used by the indigenous people of Sistan in their writings.

Using credible historical documents and sources, this study attempts to identify and classify the techniques and methods through which the indigenous residents of Sistan deal with the region’s winds. Field studies carried out in Sistan, especially in Sekooheh and Qaleh-no villages, indicate that the local architects of the region implement wind-harnessing techniques in constructing the native abodes of the region even to this date.

This research was a qualitative study that used content analysis to examine historical texts to find mentions of the influence of the wind on the lifestyle and architecture of the indigenous residents of Sistan and to identify the aim and effect of each technique by interpreting the findings.

The results show that the indigenous residents of Sistan have devised effective techniques to redirect the wind before it reaches their settlements and to utilize this natural phenomenon inside their houses since ancient times. Reviving and modernizing these techniques can help improve the current condition of housing in Sistan.

 The relation between hearing sounds and architecture is one of the neglected matters in studying the embodied experience of architecture. Accordingly, this paper addresses the relation between hearing sounds and place.

To explore the whatness of the ‘auditory experience of place,’ this paper examines the diverse ways of thinking about the relation between sound and place through academic disciplines.

The paper introduces the intellectual foundations and content of these disciplines in a historical context by referring to diverse texts of the field. Therefore, the paper is based on “inquiry-based” research rather than a “hypothesis-based” one.

The analysis indicates three approaches: physical, psychological, and phenomenological. The paper begins with architectural acoustics, which is the starting point of studying sound and architecture in the field of building physics and indicates a conceptual turn in the studies from ‘sound’ in sciences (like acoustics, architectural acoustics, and psychoacoustics) into ‘hearing’ in human studies. Human-oriented sound studies include two main approaches: psychological approach, in the soundscape and its sub-disciplines like acoustemology and acoustic ecology as well as aural architecture; and phenomenological approach, in auditory place studies. Finally, the analytical comparison and a conclusion of these approaches indicate the movement of thought in these studies from quantity (in architectural acoustics aimed at sound control) toward quality (in the soundscape and aural architecture aimed at sound design) and more toward wholeness (in auditory place aimed at auditory understanding of place.)

 Two main performances, including ‘Accessibility’ and ‘Visibility’, have been proposed in (intermediate) interface spaces for design and organization since a long time ago. However, these spaces have not received much attention in design today and even they have often been ignored. As a result, psychological and intellectual requirements, which are realized in interfaces, have not to be met and responded to. In this regard, some phenomenologist architects have an emphasis on all-inclusive interaction of human’s existential ranges with architectural space and also they have emphasized the importance of responsiveness to psychological and conceptual needs.

The present article seeks to investigate the function of interfaces in house architecture, based on the approach taken by some contemporary phenomenologist architects. This paper aims to achieve optimal performance of such spaces in houses.

To this end, it has been firstly dealt with the description of attitudes from four phenomenologist architects concerning interfaces based on theoretical studies within the qualitative methodology and benefitting from interpretive and phenomenological approach; then using ‘interpretive phenomenology’, the conceptual units were built in their works and their functional capabilities of interfaces have been revised in two perceptual-conceptual and behavioral-functional aspects as well as compatible and responsive formative-spatial features to those performances.

The findings show that interfaces possess optimal performance so that they are capable to provide an appropriate accessibility hierarchy of outside-to-inside space. At the same time, they may provide a sense of being calm and under shelter for the audience and they make all of his/her senses and perceptions involved among them. In response to these three functions, distinctive formative features e.g. application of light and shade with different auditory, olfactory and tactile patterns and also having specific formative boundaries may be responsive to them.

 Purity is one of the postulates that has been continuously employed in Iranian architecture, especially in Bathhouses, and has climaxed over time. This idea is well manifested in the development of iconographies. Bathhouse literary works have created a critical treasure for purification discussions in iconography. The existence of different iconographies of Bathhouses affirms this claim.

This study aims to recognize and examine the postulate of purification and its manifestation in iconographies left in Iranian baths.

The method of this research is descriptive-analytical. Ten samples of iconography from the books Haft Aurang (Jami), Divan Turki (Amir Alishirnavaei), Khamseh (Nezami), Masnavi Mehr-o-Moshtari (Assar Tabrizi), Zafarnameh , Shahnameh (Ferdowsi), and Masnavi Manavi (Rumi) were examined in this research.

The diversity of tools and people shows that details have been employed to better demonstrate the principles of purification. For ease of legibility, the applications of each section are provided. Furthermore, the performance of the components and people bilaterally related to each other and indicating the most commonalities in the works left in the iconographies and the differences in the decorations and details of each iconography was examined. The functional dimension has many similarities with the physical aspect. In paying attention to commonalities, this dimension has applied specific strategies, principles, and patterns and created innovations in demonstrating purification.

 In recent experiences, from the perspective of culture-led urban design, events play a paramount important role in improving the quality of urban public spaces. However, less exists on the nature of urban public spaces and their constructive roles in the development of events. Even previous studies have failed to provide clear answers to key questions such as what factors affect the event-oriented public space? What is the effect of different types of public space on amount of events?

 This study aims to explain and develop event-oriented criteria for urban public spaces and then to measure and compare the extent to which different urban spaces in District 12 are event-oriented.

 The article’s methodological approach contains both qualitative and quantitative. In the first step, different methods were used to select case studies as an event place in District 12, such as content analysis of documents during two years, field visits, and in-depth interviews with experts. Then, the factors affecting the eventuality of public spaces were recognized based on the current literature. Finally, the event-oriented quality of several urban spaces in Tehran’s historical heart was measured and compared by using checklists and analyzing the data in SOCNETV software. 

 The research results show five criteria, including accessibility, connectivity, space facilities, inclusiveness, and security, have the most significant impact on events’ formation and durability. Also, among the different types of public spaces, the pedestrian streets and parks in Tehran’s 12th district have a higher amount of events compared to other types.

This descriptive-analytical study investigates the dragon motives in architectural decorations in the buildings of Imamzadeh Ali Ibn Ja’far (PBUH), Imamzadeh Ismail (PBUH) of Qom and Takht-e Soleiman of Takap Palace built in Ilkhanid period.

Problem statement: Tiling as one of the most prominent decorative elements in Islamic-Iranian architecture is seen in many Islamic buildings. Some tile designs, such as the dragon pattern, are seen as one of the recurring patterns in the art of Iran and other nations such as China.Now the question arises what are the similarities and differences in terms of format and content between the role of the dragon in the tiles of Iranian buildings and the role of the dragon in Chinese art? To answer this question, the tiles of the two buildings of Imamzadeh Ali Ibn Jafar (AS) and Imamzadeh Ismail (AS) in Qom have been examined. Research objective For this purpose, the dragon motifs in the ancient cultures of Iran and China were compared; the similarities and differences between the dragon motifs on Ilkhanid tiling in Iran and dragon motifs in Chinese art were studied in terms of form, content, and meaning. Therefore, the authors were able to investigate the hypothesis of research stating that the dragon motif in the Ilkhanid period, unlike previous periods in Iran, has found a positive meaning and has been used for religious purposes in religious buildings and palaces after getting acquainted with Chinese culture and art.

The research method of this article is descriptive-analytical and library, documentary, and field sources have been used to collect information.

Finally, the hypothesis of this research was approved and it was concluded that despite the negative and evil characteristics of dragon motifs in Iranian literature and art in previous periods, the dragon motifs on the golden tiles of the Ilkhanid period were influenced by Chinese culture and found a positive meaning and a good concept.