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سال بیستم شماره 127 (دی 1402)

Problem statement: 

Establishing fitting relationships between users and physical spaces is among the contemporary challenges for architects in a way that the success rates associated with the functional plans of environments are typically assessed based on the structure-behavior connection. As stated by Barker (1968), the high harmony between the physical and social components, also called synomorphy, gives birth to more efficient spaces. Investigating associations between physical environments and behavioral patterns in public spaces has been thus of utmost importance as it helps reach a better understanding of the relationships between humans and their needs as expressed by a diverse set of behaviors in an environment. Against this background, this study reflected on two commercial centers as behavior settings to evaluate the effects of their distinctive physical structures on users’ behavior formation.

The main objective of this study was to investigate the synomorphy between physical structures and environmental behaviors in the Traditional Bazaar and Golestan Shopping Center, as a manifestation of contemporary commercial centers, in the city of Kermanshah, Iran. The study attempted to fulfill this goal by answering this question:How are the functions of commercial centers, traditional and contemporary, improved with emphasis on Barker’s Theory of Behavior Settings (TBS, 1968)?

Utilizing a qualitative approach and a descriptive-analytical, field-based, unsimulated research design, this applied study was fulfilled at certain intervals.

The study results revealed that the Traditional Bazaar had a much more appropriate function thanks to its stronger structure-behavior synomorphy, and was even quicker to respond to users’ behavioral patterns, granting the prospect of minimizing the diversity of such patterns and undermining the market plan, attributable to the threats and weaknesses. Reflecting on Golestan Shopping Center, the structure-behavior relationship was assessed to be uncomplimentary, so more constructive steps needed to be taken to boost its functions based on the suggestions raised here.

Problem statement: 

The subject of the announcement of the birth of Christ to Maryam by Gabriel, among other narratives with religious subjects such as the crucifixion of Christ has always been the focus of painters in the past. There are different narratives in the holy books about the time when God informed Maryam about the pregnancy of Christ. These narrations are found in the Holy Quran, the texts of the New Testament, the Gospel of Matthew, and the Gospel of Luke. In this article, three works in three different periods with the theme of the birth of Christ by three artists, Simone Martini, Leonardo da Vinci, and Dante Gabriel Rossetti, are studied based on the iconology point of view. Iconology is a kind of qualitative research method and also a branch of art history, whose founder is Erwin Panofsky, a prominent figure of the Warburg school. The questions of this research are: Based on the principle of iconography in the representation of the gospel story, which symbolic values have the artists explained? According to the narratives of religious books, why is there no sign of Joseph’s presence in most of the paintings of the gospel of Christ? Regardless of the different narratives about how Gabriel announced the birth of Jesus Christ, The explanation of symbolic values has caused a difference in the form and semantic concepts in the visualization of this story, which is the basis of the answer to the definition of the problem in this research.

The purpose is to describe the structure of Figures and to identify the role of elements and relationships between them, as well as to examine subject and theme, relying on historical sources and finally explaining symbolic values.

The research method in this article is historical-descriptive based on the model of Panofsky

The analysis reveals a convergence of artistic interpretation with the Gospel of Luke and the Quran in the portrayal of the Annunciation, excluding Joseph’s presence. Symbolism, such as the white lily and Mary’s attire, effectively conveys spiritual and religious messages in these artworks. Each artist brings a distinct perspective to this sacred event, reflecting their unique creative approaches and providing valuable insights into the narrative’s essence and significance.

Problem statement:

Aydin Aghdashlou He is one of the artists who has always looked at the past and the art of his predecessors to produce and create his artwork. Therefore, the main part of his artistic activities has been redrawing and testing himself on the paintings of previous artists. The subject of a part of Aghdashlou’s retrospective artistic activity is the subject of European art, especially the Europe of the Renaissance period. Although the reproduction of Renaissance portraits in Aghdashlou’s paintings has always been a subject of discussion, most of which are based on local and traditional views and concepts. This is while the postmodernist concept of “appropriation “ provides us with a completely new insight and a suitable perspective so that we can get a new reading of this artist’s working method. What are the most important functions of the “appropriation “of Renaissance portraits in Aghdashlou’s paintings?

This research aims to identify and explain some of the most important semantic aspects hidden in recalling and rereading these classic works while studying the Renaissance portraits of Aydin Aghdashlou and showing the connection between his painting style and the postmodern concept of “appropriation “.

This article employed a descriptive analytical method and used the concept of “appropriation” The data required for the research was collected by the library method and analyzed by the qualitative method.

The results of this research indicate that Aghdashlou’s Renaissance portraits can be classified under three main categories based on the applications of the “appropriation” method 1) Admiration of Renaissance portraits 2) Distortion of Renaissance portraits 3) Destruction and restoration of Renaissance portraits. Under the first category, Aydin Aghdashlou wrote down the predecessors and artists of the Renaissance by simulating and performing religion in the title of the work. In the second part, the manipulation of the Renaissance portraits has been done to change and transform the essence of the work slightly, move away from its reality, and create something more than a pure re-drawing. Under the third function, the works of Aydin Aghdashlou are placed, which have repeatedly reproduced the works of previous Renaissance artists.

Problem statement: 

Numerous studies have been conducted on the subject of Islamic architecture, but this article aims to challenge the concepts of “Islamic architecture” and “Muslim architecture” and distinguish between the two. The topic that has not been addressed so far is the definition of these two religious terms within the realm of religion.
In this regard, the following questions are raised:- What is Islamic architecture?- What is Muslim architecture?- What is the difference between Islamic architecture and Muslim architecture?- Is Islamic architecture obtainable in modern times?

Understanding the reality of Islamic architecture and Muslims architecture, as well as distinguishing between these two, are the research objectives that are essential for research in this redard.

This article examines the relationships between architecture as a science and Islam in terms of their types of connection. In this context, the opinions of scholars regarding the nature of Islamic architecture were studied using available library documents, and these definitions were classified into three categories: physical, semantic, and behavioral. Since religion determines the requirements and limits of Muslim behavior and does not consider physical constraints for architecture, understanding the true nature of Islamic architecture is essential. To understand this truth, studies were conducted using inductive reasoning methods, and Shia sources were scrutinized to define a new concept of Islamic architecture as the result of implementing the correct form and adhering to religious commands without any deficiencies or excesses.

According to this definition, examples of buildings designed for Muslims are introduced in this article under the title of “Muslim architecture”. Muslim architecture is derived from incomplete interpretations, attempts, and efforts of Muslims to follow religious instructions, which are accompanied by personal tastes and understanding, prescribed laws, and ignorance, resulting in a gap compared to Islamic architecture. By studying pathological features and searching for the causes of this gap, Muslim architecture can be brought closer to Islamic architecture. To clarify this gap and its causes, the distinction between the two concepts of Islamic architecture and Muslim architecture is discussed.

Problem statement: 

One of the most critical issues in architectural design is form, which has become more complicated in computational design. To overcome such problems nowadays, digital manufacturing methods such as additive manufacturing could be used. For a long time, concrete has been considered one of the primary materials in architecture. In recent decades, concrete 3D printing has made significant progress and practical samples such as pedestrian bridges, residential units, and urban furniture have been made with this technology. One of the most important advantages of 3D printing is the creation of complex geometries including curved surfaces. In 3D concrete printing, due to its large scale, some defects of the printed surfaces, such as the staircase effect are more visible. One of the methods that could be used to make the final finish of the printed surface smoother and closer to the original digital design is the application of curved (non-flat) layering in the production process. This method could produce surfaces with a better finish only by intervening at the software level and using the existing hardware.

This paper seeks to investigate the methods presented in the additive manufacturing of cementitious materials and attempts to find their advantages and limitations in published articles.

In this review article, the documentary data collected from published scientific documents like articles, books, and theses, have been analyzed using a descriptive-analytical method.

Three main methods in additive manufacturing of concrete materials have been investigated, and the advantages and limitations of each have been listed. The main challenges for additive manufacturing of concrete in the three categories: properties of printable concrete, supporting structures for concrete printing, and the presence of cold joints were investigated, and finally, the methods presented for the construction of curved surfaces with 3D concrete printing technology were mentioned.

Problem statement: 

One of the most important aspects of Qajar art that has not received so much attention is the background of paintings of this period. The background of an artwork may follow certain patterns and rules that constitute the problem of leading research.

To understand the patterns, rules, and role that the background plays in the paintings of the first and second Qajar periods and also to answer the question of what patterns or rules the artists of each period used to create the background of the works.

Based on the objective, this research is a basic theoretical study and descriptive and analytical. Thirteen samples of Qajar period paintings were purposively selected, and the data related to the mentioned questions were extracted, classified, analyzed, and adapted.

The results show two general methods in the painting background of the two periods. In the painting backgrounds of the early period, there are mainly geometric patterns and landscapes inspired by European paintings from memory. In the second period, painting backgrounds represent real Iranian space in a realistic and naturalistic method. Differences in the teaching methods of the two periods have caused differences in the works. Therefore, despite the use of European elements, the backgrounds are mainly influenced by Iranian elements in the first period while in the second period, there is a complete domination of Western methods and elements