نشریه معماری، مرمت و شهرسازی رف
پیاپی 2 (پاییز 1400)

Space has become one of the basic components in urban analysis. In fact, cities are the most important platform for the production of space and the spaces formed with investment are targeted to ensure the necessary conditions for the production and reproduction of capitalist relations. Accordingly, in this research using descriptive-interpretive method and through a systematic review of all the relevant literature, space production processes and its products are analyzed with reference to Lefebvre and Harvey intellectual system and finally socio-spatial dialectic of Edward Soja and their theoretical commonalities as the main research goal. What can be deduced from this research is that the productive relations in the city between the ruling power and the lower class are reproduced by producing new space and power tries to create a new spatial order with its production tools in the city and its spaces, in addition to a production environment, a consumption environment is formed that directly affects the daily lives of citizens. Also, the analysis of views shows that Lefebvre has inspired other thinkers by presenting his spatial trialectics; In Lefebvre’s proposed trialectic, Spatial action with spatial representation, ends in representational space, and Lefebvre by critique of everyday life in capitalism and its relation to living space in the production of space, has been able to draw class struggle into civil society strife. Similarly, in the following decades, Harvey discusses the cycles of capital accumulation, emphasizing the second cycle, and while acknowledging the role of space in the circulation of capital, believes that capital operates in a geographical and historical context that leads to the creation of various spatial forms of space in our living world. In fact, Harvey specifically see the real estate market as a secondary circuit for capital turnover, arguing that at the point where the second cycle of accumulation crisis reaches, to exit the crisis, The third cycle of accumulation is produced by relying on the production of new ideology, knowledge and awareness, which in the living space leads to the same Lefebvre ideas, and as long as the artificial environment in production is consumed by citizens, the relations of production are reproduced. On the other hand, Edward Soja, like Harvey, relying on Lefebvre’s ideas for his spatialization, re-discusses the dialectic and introduces the third term into the historical-social duality and considers three dimensions for space. In between, Many researchers have also pointed out that Soja’s spatial trialectics offers a new postmodernist angle to describe how people perceive, imagine, and reconstruct space, and that Soja is always striving to find something valuable between the first and second spaces that the title describes the third space, so can be said that Soja’s trialectics emphasizes different thinking about the meaning and importance of space and has broken the duality of material and spiritual space. finally, it can be concluded that Harvey in expressing the three circuits of capital circulation with more reliance on capitalist behavior And Soja in expression of socio-spatial dialectics and the emphasis on understanding new and different ways of spatial thinking have both been indebted to Lefebvre’s ideas.

In the past two decades cultural landscapes, being the outstanding human heritage, have been the subject of renovated attention throughout the world, but Iran.  In this research, we have studied the cultural–natural landscape of Qaboos tower, in Golestan-Gonbad, one of the most wonderful landscapes of Iran as a case study with the approach of revitalization and sustainable development of the tourism industry. Preservation of natural and cultural landscapes as an important approach in today’s time about sustainable development on the one hand and keeping the aesthetic value and historiographical sights, on the other hand, needs careful strategies. Nowadays, revitalization plans for simultaneous conservation of historical buildings and complexes and upgrading social life have developed significantly. One of the most important parts of this process is determining functions based on revitalization principles. The question which is raised in this regard is how can we identify and implement the process of determining the new use and matching of human activities with architectural structure considering the specific features and conditions of any historical complex. The main approach of this research is a case study and, using the historical-interpretive method, valuable data about Qaboos tower and its potentials were gathered to determine the proper use for the complex based on such potentials and the needs of the surrounding urban fabric. Landscape preservation and conservation of Qaboos Tower aims to strengthen the quality and beauty of the landscape, which can also help to restore the natural and cultural infrastructure. Moreover,  these conservation operations can strengthen its economic and tourism foundations in the context of sustainable development.  Therefore, research studies and projects are necessary to evaluate the viewpoints about the restoration of these natural-historical landscapes for their revival and reconstruction. Revitalization, preservation, and the enhancement of the cultural and historical landscape of the site are essential steps in the revitalization and restoration of this landscape. Achieving sustainable development goals and paying attention to the sustainable vision of the region in the future, is an integral part of comprehensive and current views in any landscape restoration project. The end product of this research is to define functions, actions, and programs for tourists, compatible with local culture, climate, and needs of the region, to increase the quality of services with the least interventions in the historic landscape. These principles are important in these planning: paying attention to sustainable development, flexibility, and attracting public participation. In this research, the descriptive study, in the context of library studies and numerous field observations were used.

Broadly speaking, buildings are affected by many influential forces such as time, climate, performance, and human needs that are not static but dynamic and unstable. As a result, in the present age and ofcource future, it is essential to develop buildings that adapt to climate, energy and other factors of designing an architectural project. Kinetic architecture is a specific type of high-tech architecture that enables buildings to fit the project requirements, users’ needs, environmental conditions (built environment and climate), and the time requirements, and create a variety of movements (both real, spatial, and virtual) in different system components such as shells and facades, interiors, structural components, and even the entire building.  A review of the existing literature, both academic and professional, shows recent trends in research on kinetic architecture and its countless potentials in the field of architectural design. This architecture faces challenges due to interdisciplinary issues and the multiplicity of technologies involved, and of course advances in robotics, mechanics, electronics, and structures responsive to kinetic design are essential to this new approach. On the other hand, the lack of transparency about the definitions and concepts related to kinetic architecture has challenged the understanding and correct choice of such systems. Therefore, the purpose of this study is to provide common definitions for interdisciplinary concepts and provide a common theoretical and conceptual framework for designing kinetic architecture and classifying its types in accordance with the design goal, which can help to choose the appropriate kinetic system in each project. A thorough understanding of kinetic systems that are relevant to architecture and their usage is important, because it enables architects to think about the major aspects of kinetics and explore their potential for architectural applications. In this context, the research presents a methodology for the definition and classification of different terms, concepts, and approaches in kinetic architecture. This research method is descriptive-analytical and utilizes documentary and library studies reviews the definitions and concepts related to movement in architecture and examines the types of classifications presented by researchers and their approaches as well as the stages and strategies of kinetic design. These studies showed that by considering such things as the type of mechanism and location of movement, amount of movement, system structure, control techniques, and how to operate the building, various classifications for kinetic architecture can be provided, each of which is not responsible for offering the most practical classification. A comprehensive look at all of these will be helpful. This study also showed that in recent years there is an increasing tendency to research about and use kinetic systems to reduce energy consumption and utilizing it in the facade of the building. What is neglected in the field of kinetic architecture studies is research on the use of kinetic systems in the construction of Indoor spaces, structures and the use of movement potentials of indoor spaces in order to provide security and meet the other needs of users except for Thermal comfort, the flexibility of the space, providing a suitable and diverse view and perspective.

The evolution of traditional Iranian architecture with the emergence of identity-building elements such as the dome moves in the direction of a kind of perfectionism. The Iranian dome is considered as an important element in architecture that has been used in various types of buildings in terms of its original historical prestige, strong theoretical foundations, unique features and keeping the space cool. The dome is in fact the presentation of a complete architecture, whether it is used as a structure or where it is a symbol of transcendental truths. In fact, the dome, as an urban landmark, helps to read the space by breaking the sky line and directing the view towards its colorful world. In the process of shaping the space in Iranian architecture, we see the abstraction of colors and images in buildings. The Iranian architect creates with the use of various arrays. The culmination of the manifestation and display of the attributes of the arrays appears in the dome, and the color, which is considered as an effective visual element in the urban landscape, doubles this splendor and charm. In fact, color is a tool by which the architect can identify the form and influence the visual logic of the space. The colors in the dome are narrators of a deep and mystical meaning that guide the viewer’s mind towards discovery and intuition. Islamic and geometric maps, shapes and patterns, along with the conscious use of color and attention to harmony and contrast, in the shadow of a novel order, present the dome as an element of semantic index and evoke a sense of harmony and connection in the viewer’s mind. The color on the dome is part of a larger whole that reflects a fundamental concept, to depict a transcendental truth. We are witnessing the peak of this art and cryptography in the Safavid period. This study tries to provide a color pattern by examining how the color accompaniment in the outer shell of the domes in the Safavid period to be used to create an atmosphere with identity in today’s Iranian architecture. The method of data collection in this study was the use of field studies. To analyze this data, two visual methods and the use of digital software based on computer simulation have been used. Then, with logical reasoning and content analysis, the final results are obtained.

The design of the facade in the building architectural design process has always been of fundamental importance. in this regard, the effect of western architecture on the thought of iranian architects and modern lifestyles, art deco, international style, streamline, etc. and the distinction of each of these styles in the design of the facades of architects It has a great effect like Vartan Hvansian. The most important purpose of this article is to analyze and evaluate the styles used in designing the facades of Vartan Havansian’s works. Assuming what features the style of view used in Vartan’s works has with the European style. this research has a comparative study with research questions ranging from: How can the facade design style be understood in the works of Vartan Havansian in Tehran? What are your stylistic features in European facade design with European styles? Says the answer. in this paper, we first analyze the Vartan Hvansian’s building facadees in terms of three historical periods then, the similarities of each work are studied and the results are compared with the european styles. According to the analysis of the works of Vartan Hovannisian, the styles used in the facade can be historically divided into four categories: neoclassical, Art Nouveau, Art Deco and Modern.It can be said that the Hwansian buildings were influenced by modern pre-World War II architecture, Art Nouveau, Bauhaus views, and the works of Adolf Luce and Le Corbusier. He was opposed to eclecticism and imitation of traditional Iranian architectural forms. Nevertheless, he paid close attention to social customs and tried to respond to them in modern buildings. With the arrival of neo-classical, Art Nouveau, Art Deco, and modern architectural elements in Iran, extensive changes can be observed in the design style of the facades of Vartan’s works in these three periods. Its roots go back to the late Qajar period. with the analysis and evaluation of his works, we will conclude that in most of his works in the three historical periods of indices of symmetry , full and empty, round corners , ornamentation emerge in the windows and balconies, It can be said: In the first period (1319-1300) more modern style has been used in designing facades. that in the second period ( 1320 - 1329 ) the design style is more decorated with no symmetry , compared to the art deco style and art deco style .In the third period (1330-1339), the facade design style of decorations is less and asymmetrical than the first and second periods, and both Art Deco and modern styles have been used. But in the third period, with projecting balconies protruding from the facade and decorations of windows indicating the style of Art Deco in terms of material and non - symmetry, it is partly an indicator of the modern style due to the fading of the decorations .each of these features is related to different styles in his works .

Design theory as the epistemological and knowledgeable core of the design process is the basis for its identity. Along with the emergence of engineering design, developments in design theory have had an increasing impact in many disciplines and academic societies. In a way, design theory has been effective in several academic fields such as creative research. In the field of architecture, the importance and position of theoretical foundations in architecture has long been such that the evaluation of the design product, to a large extent (especially in its current manifestation in the present post-postmodernist era), is supported by the theoretical foundations reflected in form and body. However, due to the lack of a general framework for presenting these solutions, there are frequent discussions about logic, theoretical foundations and even the values of contemporary design. So, it can be said that the present design theory should cover all the steps that are considered in the field of theory to the product of architecture. Consequently, the theoretical foundations of architecture as the most important area of identity to architecture, as a field of study, aimed at defining design or, more precisely, design. In such circumstances, addressing every design problem requires a variety of data and information that is collected and analyzed in a specific way, in line with the objectives defined in a systematic model. In the field of design recognition with such new specifications and approach, design theory can be viewed in a new way. For example, the combination of systemic thinking with the theory (theoretical foundations) of sustainable architecture can be considered as a framework-creating solution. In this way, a new concept of this synergy, called the framework of «sustainable architectural identity», will be created The problem of defining and using theoretical foundations in scientific manner, along with other empirical, technical and skillful resources such as elite opinions and social memory, has created a necessity among designers. This necessity includes the formation of a discourse about what is and how to take a comprehensive, purposeful and systematic model of it. The purpose of this study is to provide a systematic definition of the nature of theoretical foundations in architecture, at three levels: promotion, adaptation and production of science. This perspective has been used to shape the mental structure of designers in relation to its nature, in a process-oriented and productive perception. Obviously, the application of such a thing can be expressed in the model-based use of theoretical foundations of architecture, especially in the process of parametric and algorithmic design, in the post-postmodernist era. The present qualitative research with the method of analysis and descriptive interpretations of library resources, while describing the shaping facts to the theoretical foundations of current architecture, tries to provide a systematic understanding of these factors. The important achievement of this research is achieving theoretical productive fields in architectural design, and shaping the logical model for encountering and intelligently utilizing architectural theory factors for proposed use in the framework of sustainable architectural identity.