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سال بیستم شماره 126 (آذر 1402)

Problem statement: Due to its interdisciplinary nature, architecture can both influence and be influenced by many other disciplines, of which the economy is one of the most important. Capitalism, which has been the dominant economic system in the West during the recent century, has led to the emergence of various issues in the area of architecture, not only in western countries but also in many other countries such as Iran. One of these issues is the emergence of consumerism and the subsequent transformation in the formation of residential space in Iran, especially the kitchen, and, subsequently, the change in the type of relationship between the kitchen and other spaces in the house. In this regard, the main question is how Western consumerism led to the transformation and development of the Iranian lifestyle and the interior architecture of their residential spaces.Research The present study aims to analyze the architectural developments of the Iranian residential spaces and find the causes of these developments regarding the transformations made in people’s lifestyles derived from the emergence of consumerism in the contemporary era.Research The library method was used for data collection and qualitative content analysis was used for the data analysis. Based on the findings, two important measures that led to the emergence of consumerism in the interior space of Iranian housing in the Pahlavi Era were first, the establishment of the “television station” and the broadcast of American advertisements and programs and second, the establishment of the “home economics department” to increase the effectiveness on the lifestyle of the Iranian women and girls as the most effective group in the Iranian society’s lifestyle. Both of the above actions were done with the foreigners’ plots, evidence of which has been provided in the present study.

Abstract
Problem statement: Flexibility is considered one of the aspects of sustainability in buildings, as flexible spatial structure and configuration are required to meet their variable needs. Mosques, as one of the most significant spaces for the presence and collective activities of people, have always been used in different cultures and generations and accepted by various social activities. The main structure of Iranian mosques was formed during the Seljuk era, and they have kept this pattern until the present. The in-between spaces are one of the most important features of this structure, which have central roles in providing spatial organization and qualities.
The question raised here is as follows:What connection is established between the spatial quality and the configuration components of the in-between spaces on the one hand, and the quality of flexibility on the other hand by considering the quality of adaptability in the Seljuk mosques?
Research The research aims to signify the in-between spaces, their spatial definition, characteristics, and place in providing the quality of flexibility in the Grand Mosques of the Seljuk era.
Research This research is descriptive-interpretive with a quantitative-qualitative approach and inferential reasoning. The research statistical population includes all Grand Mosques that belong to the Seljuk era based on the ideas of relevant experts and researchers.
The spatial flexibility of the mosques in the Seljuk era was investigated based on the quality of spatial integration. The results were evaluated and compared by using two indicators of ‘spatial connection and integration. The research outcomes showed that there are some factors including spatial characteristics and the quality of layout, besides the area factor, that affect the mean-value of spatial integration and connectivity in the Grand Mosques of the Seljuk era. The more in-between spaces (the central courtyard, porch, and entrance space), the higher the spatial integrity and better quality of flexibility.

Abstract
Problem statement: Reconstruction or recreation of the original form and structure of the demolished parts of the Tāj al-Din ‘Alishāh Mosque complex has long been a fundamental question in Iranian archeology and the history of architecture. Archaeologically, what is today visible as the Arch of ‘Alishāh’s iwan is a solid brick structure built in two constructional phases, with the northern part predating the southern one Furthermore, a series of historical reports exists on the entombment of Tāj al-Din ‘Alishāh the Vizier, known as the Tāvus Khāna building, as being located behind the ‘Alishāh Mosque. Drawing on the excavated debris of the vault of the ‘Alishāh’s iwan and the available historical reports and drawings, the hypothesis of this research suggests that the presently standing remains of the Arch of ‘Alishāh (the southern annex to the earlier structure) served as the mausoleum of Tāj al-Din ‘Alishāh’s the Vizier and that the ‘Alishāh Mosque should be recreated in a four-iwans plan with four minarets.
Research It consists of the recreation of the Arch of ‘Alishāh in light of archaeological data as well as the drawings printed in Matrākçi Nasuh (Matrakchi) and Monsieur Jean Chardin’s travel accounts, which show the ‘Alishāh Complex before the 1780 earthquake.
The agreement between the archaeological data and the cited drawings in travel accounts indicates that the structure today known as the Arch of ‘Alishāh is, in fact, the Tāvus Khāna building that was founded behind the four-iwans Friday Mosque of ‘Alishāh. The charity religious complex of ‘Alishāh consisted at least of six major architectural components: a mosque, a madrasa (school), a monastery, a large marble pool, the mausoleum of ‘Alishāh, and an outer wall surrounding the entire complex with a gateway. The south iwan opened into the mosque’s shabistān (prayer hall), the west iwan into the madrasa (school), and the east iwan into the monastery of ‘Alishāh.

AbstractProblem statement: Among the components of the phenomenological approach, the epochē is the element that carries the methodological aspect of this approach more than other components. On the other hand, a movie has full of form elements that can affect the audience’s perception, whether or not they are used or how each of these elements is used. This research tries to deal with the phenomenological encounter with the object through the medium of cinema and a movie.Research The research purpose is to examine the possibility of the phenomenological reduction of external objects and aesthetic objects through cinema and a movie.Research The article with an analytical method among the components of phenomenology has highlighted its only methodological element, epochē. Then, with a descriptive-analytical method, it measures the ratio of all the formal elements in a movie with the epochē. The article shows that there is a possibility of phenomenological reduction of the external objects through a movie and this possibility is realized in the first way in the aesthetic objects.The article introduces “Epochēe” as the only tool of phenomenological reduction. It discusses the possibility of phenomenology through the movie, concludes that such a thing is available through the formal elements of the movie, and then looks into this possibility. First, it highlights the formal structural elements and explains the appropriateness of the phenomenological approach in selecting each structural element and using them. Next, it points to the non-structural formal elements separately and examines how to implement these formal elements to epochē objects as much as possible. The article shows that although it is possible to epochē an external object through a movie, this epochē is considered a second-hand method in epistemology. In contrast, in the field of aesthetics and its related objects, they are regarded as a first-hand encounter.

Abstract
Problem statement: In addition to providing a new definition free from traditional constraints, critical theory scholar Jean-François Lyotard specifies new components for postmodern works of art by characterizing modernism and postmodernism as two oppositions to realism. Furthermore, thanks to Kant’s reflective judgment, Lyotard views event in a way that challenges the genres of the dominant discourse and results in the creation of a new discourse in a postmodern work of art; a discourse that requires a different way of perception than what was previously the case. In his writings on acinema, he views motion as the basic building block of cinema and believes that acinema eliminates all motions that are necessary for the creation of a filmic work. This study attempts to elucidate the new connections between event, acinema, and postmodern art in Lyotard’s notions, and answer “How can the event, in Lyotard’s opinion, be effective in the birth of postmodernism as two conceptions of ahistorical and acinema that contradict cinema?”
Research This research, while formulating the relationship between the two concepts of event and acinema as two important components of artistic and cinematic critique according to Lyotard, aims to demonstrate how postmodernism manifests as a stylistic and broadly non-historical matter in cinema, and how Lyotard’s acinema is realized.
Research This descriptive-analytical research conducted a desk study to collect data.
With the occurrence of the event paradigm in films, the genre inherent in each work becomes blurred, and new and unexpected genres emerge. As a result, the display of the impossible becomes possible, and acinema emerges in contrast to cinema. In this way, postmodernism is revealed not as a historical period, but rather in a stylistic form.

AbstractProblem statement: The discussion about the financial feasibility of contemporization among investors, planners, policymakers, and supporters of cultural heritage is ongoing. The ideology-driven approach that advocates for demolishing old houses and replacing them with more profitable structures has transformed many streets in Tehran into soulless places. Generally, investors show minimal interest in investing in the renovation and reuse of old buildings. However, there is a growing number of successful projects emerging that involve refurbishment and reuse of existing structures.Research The objective of this study is to examine the preservation of historical buildings and their contemporization from an economic perspective in contrast to building new structures.Research The research methodology employed in this study is quantitative, utilizing the techniques of smooth regression and coding in the MATLAB software. The findings indicate that economic growth based on contemporization follows an upward trend. While there are various costs involved, such as attracting audiences to buildings and the implementation of strategies that are discussed further, economic growth has demonstrated a greater inclination towards contemporization rather than demolition and construction. Proposed solutions in this study include the establishment of financial packages, loans, and banking partnerships to incentivize the contemporization of residential buildings and discourage the demolition of structures from the 1950s to 1970s. Furthermore, the results suggest that municipalities should adopt new policies to promote contemporization and integrate it as an integral part of smart growth initiatives. Municipalities should enforce strict design guidelines in neighborhoods with the potential for contemporization to attract more investment, protect communities, increase property values in those areas, and facilitate potential investments.