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سال نوزدهم شماره 111 (شهریور 1401)

Today, despite the expansion of interdisciplinary topics in cognitive sciences, psychology, and architecture, there are no definite, clear ideas about the role of designers’ conscious and unconscious in the process of creating a work of art. On the other hand, the absence of a way to create common meanings has resulted in a deep gap between the thought space and the perceived space. Fundamental and continuous changes in design research and its connection with architecture and education have led to the rupture of designers’ direct experience of fixed spatial patterns and has resulted in the loss of formation of natural development, life, and transformation of architectural archetypes used to represent primitive conceptions and models.

While introducing the features of spatial units of Iranian architecture that have continued in the works of current Iranian designers, the present study explains the effect of designers’ direct and lived experience on the representation of archetypes in works of architecture.

With a qualitative approach, the works of Iranian architects educated abroad were collected and analyzed using Strauss and Corbin’s grounded theory. Then archetypes of Persian garden, central courtyard, porch, and Chahartaqi were classified according to physical and semantic space criteria. The classification included open, axial, and selective codes. Among the four selected archetypes, the items about which the studied architects had direct and lived experience in their space were identified and compared with the classification results.

The designers’ lived experience was found to play a significant role in representing architectural archetypes. There was a greater tendency to simulate the central courtyard archetype wherein Iranians had lived experience. The continuity of meaningful elements of the porch and theemergence of some systems and themes of the Persian garden were evident in rare cases.

The importance of inclusive access to urban spaces has become important due to the rapid growth of urbanization in recent years. Inclusive design and planning create equal opportunities for all groups of citizens, regardless of their personal limitations and abilities. According to the principles of inclusive cities, all groups of citizens, including people with disabilities (PWDs), should have equal rights to access urban spaces. According to the rules of inclusive cities, all groups of citizens, including PWDs, should have the right to access and be present in urban spaces; but this is not the case in cities of our country, including Tehran.

This research aims to investigate the role of technology in urban inclusiveness, with an emphasis on the presence of PWDs in urban spaces.

The research goal is met by using a descriptive-survey research method following two main consecutive steps: meta-analysis and review of the international library documents related to the research subject and then analysis of the findings of a questionnaire with 80 participants with disabilities in Tehran city.

The research findings confirm that all participants in the study face many challenges in participating in urban spaces. The results of the questionnaire show that 82% of the participants use smart electronic devices more than five times a day, and the examples of using assistive technology are attractive to over 90%. Finally, it is anticipated that the use of such technologies will facilitate accessibility and increase the presence of PWDs in the city. This article introduces three new approaches: inclusive smart city (ISC), application of Information and Communications Technology (ICT), and E-inclusion.

Despite its old civilization, Syria as a newborn government and nation has recently faced numerous wars. In the last 10 years, domestic wars and the dominance of Dāʿish have caused suppression and violence, which has left a deep impression on the sociology and psychology of the people, culture, and art of this country. Art, as a vehicle to show endeavored human soul and man’s concerns, has had bilateral interaction with political, social, and cultural situations in society: realities influence art and the biological realities of the human world are shaped by it.

Investigating and deducing the impact of the war-torn society and people on the painting of the contemporary period of Syria with the style of surrealism, especially in the works of Bassem Dahdouh, is the aim of this research.

This research answers the research questions with a descriptive and analytical approach and by studying examples of Bassem Dehdouh’s paintings, based on library studies, along with explaining the method of surrealism in Bassem Dehdouh’s works and analyzing his works.

study of the works of Bassem Dahdouh show us that Modern art not only played an important role in reflecting the suffering soul of man in the east and west worlds, especially during wartime, but also sowed rebellion against the war situation. This study descriptive and analytical aims to represent and reflect war, violence, and suppression effects on the last 10 years of Syrian surrealism paintings.

Mental awareness depends on having “critical thinking”. This type of thinking emphasizes changing educational approaches in academic systems. Critical thinking requires the skills of analysis, inference, data evaluation, and inference. Components of “critical thinking” force learners to challenge their views, hypotheses, and designs. Hence, “critical thinking” is a cognitive skill. Based on such cognition, there is no absolute knowledge in the world. Education is beyond the transfer of theories, achievements, and scientific laws and the recall of facts. Therefore, this article scrutinizes, analyzes, and critiques the teaching of architectural design in Iran in terms of “critical thinking”.

“Critical thinking” is subject to a change in perception of “learning” because learning is inherently associated with growth. In other words, the evolution of intellectual structures and the construction of meaning and concept is a complex and cognitive practice. Therefore, what is considered the weakness of “critical thinking” in architecture students is the weakness of the higher education system in planning architectural design education. The current system of architectural education trains students to design what they have learned, and naturally, the product of this educational system does not develop cognitive thinking; they are just like robots that act on what is planned for them. Therefore, the approach to teaching architectural design should be shifted to critically oriented teaching based on “critical thinking".

This research is fundamental. However, its application in teaching architectural design is a matter of course and is considered descriptive-analytical research in terms of nature and method.

The absence of an accurate and comprehensive method in Iranian architectural education, if it has not hindered the development of architecture, has limited it. Paying attention to strategies of critical teaching in architecture, classifying, and identifying the correct ways of criticism in teaching architectural design can instill a sense of awareness and ability in architecture graduates. It can also contribute to an accurate and rich architectural design in the country. However, the effectiveness, strengths, and necessity of using critical thinking in architecture education require changes in the course topics.

The way of organizing mosques, which can be expressed in the form of a general shape, organizing a building plan, locating and decorating space, reflects the thoughts of its builders. For a long time, paying attention to the direction of the qibla and the formation of mosques on the map of settlements has been one of the most important issues in shaping the structures of mosques.

The purpose of this study is to offer the methods by which the qibla is shown not only based on the position of the mihrab, but also in terms of the system of movement and the ratio of mass and space in the volumetric form of the mosques. In fact, it can be said that the purpose of the research is to know how to combine the religious and customary axes in the mosques of Yazd.

This research examines the plans of mosques in Yazd by descriptive-analytical and case study methods based on explaining their relationship with the hierarchy and rituals of worship. The information required for this research was obtained through library documents and archives of the cultural heritage, handicrafts, and tourism organization (CHO) of Yazd, books, and articles related to the subject of research, as well as field studies and visits.

It is concluded that the geometrical patterns of the plans of the mosques in Yazd are influenced by the Qibla axis. In terms of their geometrical axes, there are three categories: single axis, double axis, and multi-axis. In terms of geometric shapes, plans include right-angled geometric shapes, a combination of right-angled, and non-right-angled geometric shapes. In each of these mosques, depending on the regularity of the geometry of the site plan, the architect has contemplated measures such as adding extensions and sidings to the mosque or rotating the plan. Finally, a pure, ordered geometric space is obtained as a result of purposeful design. As a result, despite solving the plan in the exterior structure around the mosques, the axis of worship has been preserved as the most important direction in organizing the plans of mosques in Yazd.

House architecture is an important topic in the study of architectural styles, and the study of its evolution can provide lessons for architectural knowledge. This paper focuses on the spatial transformation of historical houses by comparing the courtyard houses of the Qajar and the first Pahlavi period in ​​ Kerman. The research questions are as follows: 1) what geometric and spatial transformations occurred in Kerman between the Qajar and the first Pahlavi periods? 2) what changes took place in the structural role of the courtyard in these two periods?

Determining the differences between Qajar and the first Pahlavi houses in the spatial and geometric arrangement of spaces, indicates the changes between the two periods.

This paper used a descriptive-analytical method and after selecting the houses, the criteria for the analysis of the houses’ plans were developed.  By comparing the samples with research indicators, the spatial and structural similarities and changes of the two types were determined through logical reasoning, and then qualitative results were provided.

Based on the analysis of samples, although there are similarities between the houses of the two periods in terms of geometric features in the facades and the second spatial layer in the plan, more freedom in designing houses of the first Pahlavi than in the Qajar is observed. This increases the variety of the second layer placement in the plan, the arrangement of the spaces around the courtyard, the lack of emphasis on using harmony in opposite facades, and the decrease of symmetry. The rotation of the courtyard axis and the change of organization pattern around the courtyard indicate the gradual transformation of the role of the courtyard in the first Pahlavi houses, the fading of the basic role, and the centrality of the courtyard.

The physical similarity between the Menhirs from the Iron Age II (586–1000 BC) in the Shaharyeri historical site in Meshginshahr, Ardabil province, and Saint-Sernin Aveyron in the south of France is a significant issue that has not been addressed thus far. This research seeks to study the similarities between these Menhirs, which originated from similar burial rituals commonly held in these two areas.

The main objective is to study the physical similarity between the two Menhirs at the historical sites of Shaharyeri and Saint-Sernin Aveyron. The sub-goal is to compare the similarities and differences between these Menhirs, recognize their nature, and study the culture and burial ritual of the ancient Turks (Ushaghalari School) in the west of Iran. Therefore, this study draws the researchers’ attention to the other aspects of art.

This study employed the comparative-historical method. All documents were collected through library research and Shaharyeri’s pictures were compiled by the authors through field research.

The results of this study show that the similarities between Shaharyeri and Saint-Sernin Aveyron’s Menhirs are due to the Bicameral Mind, or the evolution of neural structures underlying human perception. So, the human mind evolved through mental inspiration and attained a common mental consciousness, and these same thoughts and awareness have led to the emergence of similar artistic works across the world. Despite quite a distance, these artworks have similarities in general and differences in details.

Numerous studies have been carried out on the spaces in a house to investigate the quality of this important place. The Iranian houses can meet most of their inhabitants’ needs due to their high quality. What brings high quality to Iranian houses is attention to their semantic dimensions, in addition to their bodies. However, this is less considered in contemporary houses. To enhance the quality of contemporary houses, it is required to emphasize both the material and spiritual needs of the inhabitants. This highlights the necessity of identifying the components influencing the meaning and bodies of houses in the past to apply them in today’s houses to enhance their quality. To this end, the architecture of the houses can be examined according to the fiction narrating various events in people’s daily lives. In the present study, those stories describing Tehran city from the 1950s onwards in the Pahlavi II period, when the writers’ activities had reached their peak, were selected.

To study the components influencing meaning and body in different spaces of houses, where tranquility and individual feelings have been emphasized, in Tehran in the 1950s-1970s.

This research adopted a qualitative approach. The data was analyzed based on qualitative content analysis and the general plans of houses were simulated based on the extracted components.

The gradual changes in meaning and body of the houses in the mentioned period include the gradual removal of the rooms from the corner of the courtyard, removal of vestibules and conversion of them into the corridor and the hallway, and finally to a separating surface, conversion of the pond into a pool, creation of a backyard at the entrance, creation of terraces on the upper floors of modern houses, the presence of components such as transparency, behavioral diversity, privacy due to spatial diversity, respect for nature, the existence of closed, semi-open, and open spaces in most houses.