فصلنامه هنرهای زیبا - معماری و شهرسازی
سال بیست و هفتم شماره 4 (پیاپی 92، زمستان 1401)

Indoor environment have a high impact on the health, well-being and comfort of occupants. The characteristics of space and architectural design components have a direct effect on creating a positive feeling and improving the physical and mental performance of people. As one of the factors that affect the interior environment, colour is one of the most flexible materials that can change the characteristics of space.In addition to aesthetic features, the colour of space affects human behaviour, decision-making, and health. Therefore, choosing the colour of the living space will have a great impact on feelings of residents. The current research seeks to determine the range of influence of different colour spectrums on residents' feelings and answers the question of how much this influence is affected by residents' personal colour interests and preferences. This research has investigated the effect of colour in three categories of warm, cold and neutral on six emotions of relaxation, excitement, interest, concentration, pressure and participation of user. 286 online questionnaires were used to collect data, and two methods of t-test and path analysis were used for analysis. After analysing the data collected from the questionnaires, the results of the influence of the ranges of warm, cold and neutral colours on the feelings of the residents were determined as follows: the neutral colour spectrum has the highest positive effect on the feeling of relaxation, and the warm colour spectrum has the lowest positive effect. The warm colour spectrum has the highest positive effect on the feeling of excitement, and the cold colour spectrum has the lowest positive effect. The neutral colour spectrum has the highest positive effect on the feeling of interest, and the warm colour spectrum has the lowest positive effect. On the feeling of focus, the neutral colour spectrum has the highest positive effect and the warm colour spectrum has the lowest positive effect. On the feeling of pressure, the neutral colour spectrum has the highest positive effect and the warm colour spectrum has the lowest positive effect. The cold colour range had the highest positive effect and the warm colour range had the least positive effect on the sense of participation.According to the results and the repetition of the effect of the neutral and warm colour spectrum on the investigated emotions, it can be concluded that the neutral colour spectrum among the three main colour spectrums has the most influence in inducing a positive feeling. Moreover, the warm colour spectrum has the least effect in inducing a positive feeling in the six emotions. The results showed that users have different colour interests regarding the choice of colour for space and furniture and they do not simply choose one colour spectrum for all contexts (walls, ceiling, furniture, etc.). In addition, no correlation was observed in creating a positive feeling in users' emotions with their favourite colour spectrum. But among the users, the category of neutral colour enthusiasts chose neutral colours in most of the contexts and considered it as the increase factor of positive feelings.

The form of each architectural building is influenced by the natural, social, historical, political, and other conditions of its circumstance. For this reason, at the same time, in different societies, we can see different physical characteristics for buildings with the same function. Examining the extent and manner of the effects of each of these factors can lead us to a better understanding of the causes of the formation of a certain type of building, its special features and the occurrence of formal and functional changes in it. In the literature of Iranian architectural history, the course of physical development of Hosseiniyehs and Takayas and the factors that were affecting these developments, have  not been studied much. Therefore, Hosseiniyehs as a type of collective space for holding the mourning ceremony of Imam Hossein and the course of their physical transformations in Iran are the main subject of this article. In this article, by adopting a functionalist approach to religious rituals, the social processes that have led to the emergence of the unique phenomenon of Iran's architecture in the Islamic era, namely Hosseiniyeh have been investigated. In this regard, an attempt has been made to answer the main question that what is the effect of the social and political function of Imam Hossein's mourning ritual in Iran on the physical-spatial changes of the places where this ritual is held, especially in the central part of Iran? This article adopts a qualitative approach and its data collection technique is through literature review and observation. In the theoretical part, the data has been gathered through the study of library sources and in the building analyzing part, this study uses observation techniques and the study of primary and secondary sources. The research is also considered a historical research in terms of data analysis. The research findings show that the social function of Imam Hossein's mourning ritual in Iran has undergone fundamental changes from the beginning to the end of the Qajar rule in four main stages. Like those transformation stages, the places for holding this ceremony and their architectural-spatial character also experienced fundamental changes under the influence of the social function of the ceremony. In the first step, these developments have led to the formation of a dedicated space on a local scale for holding this ritual. In the next steps and in coherence with the changes in the social role of Imam Hossein's mourning, the architecture of Hosseiniyehs also experienced changes. These changes were especially in the result of increasing the dramatic and theatrical aspect of the funeral ceremony (Taziye). The formal transformation of Hosseiniyeh’s buildings could be mentioned as 1. increasing the splendor and beauty of building, 2. Exceeding in the number of supporting spaces such as kitchen, sheltered prayer hall and so on, 3. Using different type of decorations and 4. the separation of different social classes from each other.

Architects use different media to represent and display their ideas. These media include a wide range of architectural volumetric models, hand drawings, verbal allegories, sketches and recently computer modeling. Among these media, hand drawings have always been important in architectural design and have played a pivotal role. This role has become more important in architecture since the Renaissance with the emergence of perspective. Before the spread of such drawings around the 15th to 17th centuries, drawing in architecture was common in previous periods. Until then, drawing was a tool for conversation and media between the employer and the architect. But after that, drawing is a tool for thinking and a tool for pre-designing, modifying and correcting the pre-construction form. It can be said that the methods of representation, image and perception of architecture have always had a reciprocal relationship with our perception of space and also with the spatial organization of architecture.So far, only a few studies have been done on architectural drawings and their relationship with the Iranian architectural organization of space. These few studies have focused more on the typology and classification of drawings left over from Islamic Architecture and have questioned their application in the Iranian architectural space organization. Iranian painters, especially after the Ilkhanate period, have represented architectural and urban spaces in paintings. Compared to the European perspective and tradition of drawings, Iranian painters represented architectural and urban spaces differently. Most of the research in the field of Iranian miniature has dealt with philosophical foundations, especially around the concept of the imaginal world, or the methods of representation in the form of analytical-aesthetic methods. The purpose of this study is to understand the structure of miniature representation. In this regard, it deals with two aspects of the content of representation and the way of representation of miniatures and analyzes them. The emphasis of the article is to find out how Iranian painters have portrayed the world around them.In this research, forty miniatures belonging to the Seljuk, Ilkhanid, Timurid and Safavid periods have been studied. This research can be considered as a historical study that uses an analytical-aesthetic method to discover how architecture is represented in Iranian miniatures. The findings of this study show that Iranian miniatures include three independent systems of architectural, landscape and behavioral representation. These systems overlap to form a miniature. Each of these three systems of representation has its own rules.The findings of this study show that the method of composing the page in a miniature follows three general principles: (a) organizing the general space with clear lines and framing (b) independent spaces and their collage (c) intensive space narration (collage of space units) and high horizon. This research showed that the way of representing the architectural effect in miniature includes (a) isometric or flat display of side surfaces, (b) special rules of displaying the floor and interior surfaces of the porch and (c) simultaneous display of interior and exterior of a building. These findings have been achieved by focusing on the architectural representation system.

"Interior decoration", "interior design", and "interior architecture" are known as three names that refer to specialties that are focused on the organization of interior spaces. The emergence of these three specialties takes place in a historical process; first "interior decoration" in the early nineteenth century, then "interior design" in the early twentieth century, and then "interior architecture" about four decades ago. The precedence and delay in the emergence and application of these specialties does not mean the complete replacement of the latter over the earlier one; however, in some cases and for some reasons, the former specialty has been replaced by the latter. In fact, these three specialties, despite their many similarities and commonalities, have different meanings and uses and in relation to each other, and they have created a relationship that is questionable and worth considering. So the main question of this research is what is the relationship between the mergence of "Interior decoration", "interior design", and "interior architecture".To answer the above question, first, the foundations and origins of each are examined and analyzed. This is because by finding the roots and recognizing the factors and conditions of each period, it is possible to identify the requirements and needs that have affected the emergence of each. These factors and conditions form a system in which they interact and are affected. As a result, their interaction leads to the formation and objectification of each of these specialties. After recognizing the way the three specialties are formed, their function and functional evolution have been studied in both the context of profession and education. In this way, the relationship between these three specialties is explained. Since the subject of this research is to know the origin of these professional areas and how it is formed, the main focus is on beginning to find the subject matter of these specialties that have lasted from the early nineteenth century to the late twentieth century. In the last two decades, these specialties have become more widespread in the profession and education, and so a careful study of this issue requires further opportunities. Therefore, the time period studied in this research is from around 1800 to 2000.So the goal of this study is to understand the relationship between these three titles. The methodology of this research is analytical, interpretive, and logical reasoning. This means that by searching, collecting, and organizing documents, and evaluating and interpreting data, a description of the origin and formation of these three specialties is provided. The findings of this study show how the factors influencing the formation and survival of "interior decoration", "interior design", and "interior architecture" operate and how they relate to each other. Since a relatively short time has passed since the introduction of these specialties, this research can help to understand each of these three areas of expertise more accurately and is effective in clarifying their position in relation to each other. Continuation of this research can help to develop the concepts and theoretical foundations of these specialties.

Multiplicative and deep narratives in the process of modernization in Iranian architecture lead to understanding the formation of these changes in more realistic ways. Because most of the traditionalist narratives that want to return to the origins of Iranian architecture, have focused their criticism on the imported and Westernized narrative of architecture in the Naser al-Din Shah’s period, and according to this simplification, they also put a simplistic view against it. This paper is important in several aspects: first, through a critical look at existing narratives, it aims to present a new conceptual model in the formation of modernization in Iranian architecture. Second, by investigating the effective components of this process, it seeks to attain an explanation of how they affect it. According to the preliminary findings as a hypothesis of the research, the vast and fundamental changes that took place in the architecture of Azerbaijan in the early Qajar period (19th century) can be considered in line with the process of the formation of modernity in the architecture of Iran. The key question of this article about understanding whether it is possible to consider the formation of modern concepts in Iranian architecture, according to the need and during a conscious process, belonging to the early Qajar in Azerbaijan? The paper was carried out by a historical-interpretive research method and a process approach to collect historical and theoretical bases. To identify and investigate the influencing factors on the process of modernization in Azerbaijan’s architecture, Iranian and European first-hand sources such as travelogues and diaries were examined. By analyzing the data, maps, and visual information (as second-hand sources), which have a complementary aspect to the work, an attempt has been made to achieve a relatively comprehensive understanding of this process. A conceptual model of the process of modernization in Azerbaijan’s architecture is available by knowing the affective factors in the formation of architectural and urbanization characteristics in modern buildings. As a result, the evidence shows that the changes that occurred in the early Qajar architecture of Azerbaijan are an alternative narration parallel to the classical ideas in Iranian contemporary architecture. This process was formed not in Tehran (in the late 19th century), but in Azerbaijan influenced by various factors. The process started with the recognition of modern changes in European architecture. The next stage started with the formation of the necessity of these changes in Iran. Finally, these changes have been implemented in the architecture and town planning principles. The process of modernization in the architecture of Azerbaijan is influenced by contextual factors (Iran-Russian war, Azerbaijan’s geopolitical position), and affective persons (Abbas Mirza, Fath-Ali shah, European consultants, and Iranian intellectuals). Also, the consequences of this process have been introduced in two general parts: corrections of the defects of past buildings and the creation of buildings with new required uses. The modernization formed in the architecture of Azerbaijan could have been transferred to other parts of Iran, during the reigns of the subsequent Qajar kings; which require more and more detailed research.

The art of tiling in Mashhad has a long history. Religious buildings such as mosques and tombs are always decorated with the best tile decorations. Especially Goharshad Mosque and the holy shrine of the eighth Shiite Imam, which has a special decorative and religious status, are the manifestations of traditional tiling in this art-rich region. Tiling in Mashhad has its own style, both in terms of decoration and composition of materials and their construction method. Traditional tile makers in Mashhad use a type of tile that is known as stone tile today. The use of glass powder, silica powder and a type of bentonite instead of clay in the body of these tiles is the reason for this name. It seems that this method of production in Mashhad has a long history. A technical study of the remaining tiles in the buildings of this area (which belongs to the past) can help us prove the above hypothesis. Therefore, the tiles of Ghiasieh Khargerd School were studied, which is historically attributed to the architecture of Greater Khorasan and is a twin of Goharshad Mosque in Mashhad. Both are made by Qavam al-din Shirazi and are very similar in terms of decoration and craftsmanship. Unfortunately, Goharshad Mosque does not have tiles at the time of construction because this mosque has been restored many times. But Ghiasieh Khargerd School has tiles belonging to the time of its construction (ninth century AH) and can provide us with laboratory samples. The method of this research is laboratory based using technical study of works. In this research, samples are measured in terms of the type and composition of their constituents by laboratory techniques. First, the method of making contemporary tiles in Mashhad is described and their materials are introduced. Then, laboratory studies are performed on old samples taken from the Ghiasieh Khargerd School building.The identification of body tissue and glaze was conducted through the use of an Olympus PM G3 optical microscope, while the alkaline melting method and point analysis with the SEM-EDX device were employed for chemical analysis. The results show that the body of the mosaic tiles for Ghiasieh Khargerd School is similar to the contemporary stone tiles of Mashhad in terms of chemical composition and texture. In terms of glazing method and tile sintering method, according to histological studies by optical and electron microscopes, similarities are not fully confirmed. In this respect, Moaqqali tiles, Hamil tiles and seven-color tiles are more similar to clay tiles that Mashhad tile makers are currently using to make seven-color tiles. The composition of glazes, the type of glaze colors and how they are used and produced do not fully confirm the methods currently used by Mashhad tile makers. In general, studies show that the methods and techniques of the past (with a slight changes in terms of the composition of materials and methods used in their construction) have been continued over the past years by contemporary tile makers in Mashhad.