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سال بیستم شماره 120 (خرداد 1402)

Problem statement:

 In the tradition of interdisciplinary studies of architecture and human sciences since the 80s, the relationship and interaction between man and space have been studied mostly through the lens of behavioral sciences. This study draws upon cognitive science to examine human-space interaction from cognitive aspects, mind, and memory in spatial experience and show that the eventuality of space and other components depend on human episodic and cognitive memory.

This study aims to determine the qualitative ratio of the role of episodic memory in the eventuality of large-scale spaces through the comparison of spatial systems and visual symbolic signs.

Using qualitative, descriptive, and pragmatic methods, this study attempts to link the eventuality in space to the recording of space in active memory through surveying and mapping of behavior. Field observations were made through direct observation and the data was interpreted to map spatial events in two rows of shops in Tehran’s Grand Bazaar.

The results of this study show that two spatial and symbolic systems have different contributions and effects on the active memory and eventuality of space. The spatial system, endogenously, directly, immediately, and through spatial perception and experience expands the field for the eventuality and the symbolic system indirectly provides the recognition of spatial components by recording, rereading, and through mediation, with an effect on human episodic memory.

Problem Statement:

 In design methodology studies, it has been assumed that designing is a unique cognitive action that is used in various professional fields. The generality of this matter is not rejected, but after nearly seventy years of design methodology studies and relying on common general knowledge of design, we can now address the question: What are the differences in design methods in various fields? And what is the reason for these differences?

Research Question: 

More specifically, this research has limited the research problem to comparing the design method used in product design and architectural design and raised the following question: “What are the differences in design method in the fields of product design and architectural design?” To find the answer, this preliminary question had to be answered: What is the design method in product design and architectural design?

 To find the methodological differences between the process of product design and architectural design. Research Method  According to the criticism that was accomplished in the literature review regarding the problem and experiment method of similar research, this research method is a qualitative case study, and in terms of method, it is an experimental-descriptive one. Experiments and unstructured interviews were conducted to collect information, and the grounded theory method (GTM) was used to refine and classify the information. The theoretical framework of this research is design methodology with the approach of “design cognition”.

 After collecting the data through testing and categorizing it, there have been discussions on the findings that showed seventeen general cases. In conclusion, it can be said that the method in product design is similar to the method in architectural design in some dimensions, but in others, these two groups have evidently different behaviors. In the common aspects, the inherent dimensions and nature of the design can be seen, but in the different aspects, the role of the environment and education is evident.

Problem statement: 

Design ability is one of the most critical and complex cognitive abilities a person has tried to cultivate. Designing requires a complex mental process of the ability to obtain many types of information, combine them into a coherent set of ideas, and finally, create a realized form of those ideas. This article explores the formation of the concept in origin and reaches the main design by describing important subcategories and factors such as design education, sketches, creativity, geometry, and the examination of prominent examples. In this regard and using previous studies, it has been tried to reach a conclusion using the origin of concept production. Considering the undeniable role of concepts in the design process, this fundamental question is raised whether it is possible to theorize the formation of the idea (basic design) as well as the existing void before reaching the final solution in the minds of designers (architects). Today, there is a question of whether there is a connection between opinion and will to build objects (architects).

The purpose of the research: This research aims to fill the gap between opinion and practice in architectural projects and theses. At the core of these studies, a clear and developed view of the nature of ability has been formed to design and develop talents. From this point of view, the ability to design is considered a facet of human cognitive skills that every person benefits from to some extent. The initial idea initiates the creation of the master plan, and the development of the master plan will lead to the final project.

This research is of the fundamental research type and is based on the qualitative research method and the causal research approach (intuitive discovery). The authors drew upon experiences in architectural design education to analyze and use logical reasoning. For this purpose, the general studies about the subject plan, the literature, and the subject’s background are discussed. The evaluations, the required software, the necessary hardware, the work steps and the process of the assessment and tests, the required techniques, and the examination of various parameters are explained. In the next step, the first component, the production of the concept (preliminary design), and the design findings have been introduced.

It can be said that concepts are an intuitive aspect of the architectural design process because they are a mediator between the designer’s inner and outer worlds. The main design is the connecting factor between the idea and the action in the design, and the gap created between the two can be repaired by discussing the development of the main structure.

Problem statement: 

The social history of senses targets public issues through the study of human senses in the context of daily life. Social photographs can represent the feelings of past people, and sound social history as a way of addressing social photographs represents various perceptions, beliefs, and listening habits of past people, based on photographic visual documentation.The question here is how the quality of the photographs as a reliable reference linked to the power of vision, can help analyze the demographic subjects in this type of text. And what additional information did the historians acquire, based on the sound social history specifically on historical photographs of the Naseri era?

it is assumed that social photos contain kind of visual data due to their graphic characteristics, which represent the social aspects of sounds in a photographic context, relying on the written documents of social history as a hypertext to provide us with more detailed information about the life qualities of past people.

This article, by using the descriptive-analytical method and exploiting the social history of senses, aims to extract sound profiles of the people`s daily life of the Naseri era (based on the photos of royal palaces and ethnographies of this time) in comparison with the other historical texts of this time.

Most of the urban sounds were in the possession of the ruling class in Nasseri’s time to establish and exercise power. The emergence of modernity in that era, by breaking the pre-modern silence, created new audio experiences in different social classes, for example, the sound of farmworkers was the major sound by moving away from the capital.

emphasizing social participation and interaction necessity. In this case, non-governmental organizations (NGOs) play a vital role in creating a participation-centered environment by performing as intermediaries between urban management and people. NGOs can act effectively in this way due to their inherent nature and characteristics and their ability to win the trust of the local community. As the capital of Gilan, Rasht City has many active NGOs in different fields. Hence, it is essential to identify stimuli and barriers to the actualization of participation and achieve good urban governance.

This study aimed at identifying the barriers and stimuli to NGO activity and examining how NGOs perform as an urban governance pattern to improve participation in urban management structures.

This was a descriptive-exploratory study with a qualitative approach. The extant study used bibliographic studies and a survey method through 12 semi-structured and in-depth interviews to collect data. Interviewees were selected via the snowball method. Moreover, content analysis was used to analyze interviews through three-phase coding of concepts and categories.     

NGOs do teamwork and make collective decisions; hence, they mediate the relationship between citizens and urban management. In this regard, participation, civic intervention, and citizenship are the most substantial stimuli in the urban management structure. Moreover, results of restrictive legal structures indicate that the political employment of NGOs and limited financial resources are the most important barriers to NGOs. In total, the urban management structure of Iran has ignored NGOs, and it is hoped that NGOs will become vital and effective elements in the urban management structure by eliminating the barriers.

Problem statement: 

This article aims to review the creating background of the Nastaliq calligraphy, an identity for Iranian art and culture during the Timurid era, and also a proper context for Iranian poetry and literature. The development of calligraphy represents the Iranian identity and culture like a mirror and has the potential to lead and impress other arts through its literature-based discourse. The Iranian calligraphers have always been able to achieve a kind of proportion and stability by inventing various scripts like Nastaliq a brilliant master handwriting that can create distinctive attention compared to the other Islamic hand scripts. This study attempts to answer the following questions: a) how has the Iranian cultural identity emerged in Persian literature during the invention, development, and expansion of the Nastaliq script, b) how has the visual interpretation of Iranian culture been represented in the form of calligraphy?, c)What historical eras can be considered for addressing the development and evolution of the Nastaliq script when represented in Persian literature?

This article examines and explains the reasons for the adherence of Iran’s cultural identity to the art of calligraphy, which has been of great importance in Persian poetry and literature, as the main reason for its growth and expansion.

This study used a qualitative research method. Data was gathered by the library method and reviewing the specific works of calligraphy in the mentioned eras.

The result of this article addresses the seven historical eras of this prosperity and development of Iranian calligraphy. In other words, the findings of this research include the growth and expansion of Persian literature, in light of the flourishing art of calligraphy, as a progressive art. Finally, at the end of this evolution, calligraphy is considered the most significant component to represent Persian literature and establish Iranian cultural identity.