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سال نوزدهم شماره 117 (اسفند 1401)

Problem statement: Using semiotics as the theoretical paradigm of postmodernism in the design process, meaning gained importance which has been under-explored in the previous research. One of the points to be considered in contemporary Iranian architecture is the lack of attention to semantic aspects in the design process, which weakens the dimensions of identity. Deleuze has applied Pierce’s semiotics to describe the process of shaping the real environment in cinema. Before realizing the real-world environment, he sets an originary world (background) and explains its two components of power and quality. In this model, the real environment is formed as a kind of actuality, and because of the corresponding relations. Being inspired by the elements in the background as well as concepts and features of traditional architecture, designer start choosing appropriate layers and finally create their works. This study applied Deleuze’s perspective to survey five professional Iranian architects to analyze their works and how they chose their architectural layers.  Research Analyzing how professional architects in Iran select their design methods and identify the background components affecting their designs and how they use architectural context layers in creating their works.Research In this qualitative research, data collection was conducted through descriptive-analytical and analysis of documents related to the architectural design processes was carried out by “content analysis” method with a “layered semiotics” approach. The results indicated that professional architects in Iran are inspired by the concepts and features of past architecture. They further express more profound and comprehensive meanings and concepts through a modern understanding of different layers of architecture, especially the interpretive and aesthetic layers. They reflect the past in contemporary architecture.

Problem statement: There are certain historical and social ties between architecture and cinema, the seventh art, which is the outcome of other arts, including literature, painting, and architecture. Among them, architecture plays a more active role in cinema. Cinema granted the man’s ability to experience a new world from a fresh view and a fresh landscape. This possibility that movies (cinema) could reveal a direct experience of the relived space is an issue that is worth being examined from the point of architecture. The medium of cinema especially autobiographical movies for representing the living space and the memory of experiencing that space from the view of the director to understanding the mechanism of spatial memory in the mind of addresses (viewers) and architecture attaches great importance. Andrei Tarkovsky’s movies, have been based on the biography of the director and express the poem of his existence; Nostalgia Movie, have been put forward as a case study. The query of the research is how the meaning and spatial memory have been transferred through the medium (movie as a visual representation of the place of life) of the autobiographical movie of Andrei Tarkovsky.
Research

This study attempts to investigate the meaning and spatial memory and living spaces in the Nostalgia autobiographical movie from the phenomenological view.
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The method of research is qualitative and also descriptive-analytical and phenomenological. Phenomenology deals with the animation of cinematic films rather than interviews. The present study of films is based on studying “descriptive-visual phenomenology” of the experience of the space.

The studies show that from the point of phenomenological, architecture through the medium of cinema in Andrei Tarkovsky’s autobiographical movie, when the producer has a deep understanding of space and architecture, and the space of movie is the outcome of his life, these meanings would be understood, decodified, and experienced by the addressee. The subject of the Nostalgia movie is homesickness and eagerness for a childhood home. The house is the first place that contributes to experience in the first years of life and stays in human spatial memory. The way of evaluating other spaces somehow depends upon this early view. With a glance at this movie, Tarkovsky’s shining pure poetical architectural images are a solution to the stammering language of architecture in contemporary era, which ignores the expansive man’s emotions.

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Problem statement: Few studies have examined the role of documentary photography in the political, social, and cultural structures, in reflecting the events of the 1979 revolution and the war against Iraq, with social documentary, news, and war approaches.
Research This article aimed to study the relationship between documentary photography and the events of this decade, and examine the quality of documentary photography in the ruling power policies by using some viewpoints of Lukács and Hauser.
Research This qualitative research, used the descriptive-analytical method, and data were obtained from the written printed, and electronic literature.
Studies showed that documentary photography in this decade influenced the political, social, and cultural structures and in turn was influenced by the policies and ideology of the ruling power. Using photographs by the ruling power for propaganda-political purposes gave photography an institutional and ideological function and by the limitation socio-political sphere, photographers could not reflect the spirit of all dimensions of their era. Some factors, such as establishing publishing houses, printing photography books and magazines, establishing the photography field, and holding photography annuals and exhibitions, contributed to the development of documentary photography, and factors such as the limitation in the socio-political atmosphere, censorship and insecurity hindered its progress. Photographs that were in line with the ideology of the ruling political power or one of its idealisms were supported. According to the presented, documentary photography trend in the revolution and war period has been relatively in line with the views expressed by Lukács and Hauser.

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Problem statement: Despite being very old and remaining from the early Islamic, Seljuk, Ilkhanid, and Safavid eras, the Jame Mosque of Saveh has not been investigated as it deserves. The results of the research done to date are minimal and contain ambiguities that should be revised. In the recent field visit on 2022/5/25, points were discovered that have not been mentioned in any article or report to date, including things about the Chartaqi, the decorative plaster in the first pillared nave, the naves around the mosque, and the triple plaster altars along the Qiblah altar.
Research To develop the original model of the mosque based on the historical background of the building and its evolution in different eras, it is necessary to review the existing opinions and resolve the ambiguities based on the recent field visits.
Research This study employed the historical-documentary method and data collection was carried out using the library and field method (interview with researchers and field visit). To address some ambiguities and contradictions. Then, the information was classified, and will be matched with the latest findings.
Saveh Jame Mosque is one of the old mosques of Iran, with a pillared nave (model of the Prophet’s mosque) and works from the Seljuk, Ilkhani, Safavid, and Qajar eras, which, although it has unique features, is still in the aura of Ambiguity remains. The evidence dates the building probably before the Fahraj and Tarikhaneh mosque. Opinions about the existence of the fire temple have also been in the history of the mosque, but no documents have been provided for any of them. The recent findings showed new points in this regard, which will be the answer to some ambiguities and a guide for future research.

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Problem statement: The structure of today’s architectural education and the doctrines presented in this system have tried to figure out how to build the body of architecture and how to create architectural work. This trend, in turn, has led to the authority of fabricated formations and the narcissism of contemporary man. Architecture is a local phenomenon the roots of which must be traced to the folk and their lived experiences. As such, this article seeks the lived doctrines of Hafez’s poetry and phenomenology of the impact of these experiences on the process of learning architecture.
Research This study aims to understand and reexamine the lived experiences of human beings in relation to the reading of Hafez’s poetry to promote humanizing doctrines in the process of learning architecture.
Research This study is qualitative research, employing a phenomenological method and Van Manen’s approach (a descriptive-interpretative approach). Here, we seek to investigate the internal and intellectual doctrines obtained from lived experiences of Hafez’s poetry through interviews with eight experts who were already acquainted with Hafez’s poetry in the fields of philosophy, literature, humanities, and architecture, In the research process, 18 doctrines were obtained. Then, through MAXQDA software the main themes were summed up and horizontalized.
Hafez’s poetry, as a “mediating space”, is a phenomenon that deals not only with aspects of humanization but also with the techniques for establishing extensive relationships with another phenomenon. The result of this study is presented in the form of a final model (Dayere -e- Mina), meaning human refinement and self- therapy to change the hegemonic attitude of static phenomena, how to teach human beings as well as rewriting architecture through Hafez’s lived experiences with a metaphorical language.

Abstract
Problem statement: Turkmen handwoven and handkerchiefs are a field of native arts that, while meeting the needs of life and highlighting the artistic identity, have been a vehicle for revealing beliefs through the representation of abstract motifs. The critical point in these works is the importance and exceptional attention to the semantic and belief-oriented aspects of the motifs, along with the aesthetic dimension. This issue is relatively less in other nomadic societies. In the lifestyle of Turkmen society, there is a prominent presence of ancient (shamanic) and religious beliefs, rituals, and teachings that are presented to the audience through abstract artworks. Therefore, we can do an anthropological study on the Turkmen weavers’ worldview, which presents in the paintings. This approach seeks to study and understand artworks’ content in their creators’ cultural context. So the central question of the research is, what are the anthropological characteristics of Turkmen handwoven and handkerchief motifs? And how can we study their semantics and aesthetics in terms of this aspect and Turkmen cultural contexts?
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This study attempts to examine and understand Turkmen’s handmade motifs in the context of Turkmen weaving culture.
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The type of this study is qualitative and developmental and its method is descriptive-analytical with a library data collection.

The dominant style of painting motifs is more discrete than abstract. Also, the motifs are created relying on beliefs more than they have aesthetics (decorative) and symbolic and semantic aspects. Most of the motifs include the group of protective motifs (prayer, spell, armband), ram, local birds, and flowers (bergamot) That has a special marker and form in each tribe. Also, handmade have special functions.