نشریه بنیان های حکمی - فلسفی هنر ایرانی
سال دوم شماره 2 (پیاپی 4، تابستان 1402)

Failure to take advantage of environmental factors in the design and the high consumption of non-renewable energy have caused energy wastage and increased costs in the residential sector. Meanwhile, natural ventilation is one of the most effective factors in creating thermal comfort. The city of Natanz is located in the sub-climate of the foothills. Energy requirements depend to a great extent on the climatic conditions of the environment, and it is possible to position the buildings within the comfort zone for a significant portion of the year by considering environmental factors and utilizing natural ventilation.In the following article, the approach to native housing in Natanz City, focusing on natural ventilation to adapt to thermal comfort conditions, is investigated. Ventilation in four houses from the Timurid to Pahlavi periods in Bagshahr Natanz has been analyzed using Computational Fluid Dynamics (CFD) and the Design-Builder software. The results of the investigations show that the native architecture of Natanz City, incorporating static solutions and mindful consideration of the bed's conditions, has successfully placed these buildings within the thermal comfort zone for many days during the hot season by harnessing suitable natural ventilation.

The first human efforts towards settlement took the form of native settlements, and yurts stand out as one of the earliest examples, which continue to be constructed despite all technological advancements. The construction and use of these indigenous structures are closely tied to the performance of specific rituals. Therefore, the purpose of this study was to investigate the construction methods of these structures from a cultural perspective and to consider their impact on the associated rituals. The examples studied include the grass houses among the Wichita people and the Mudhif structures built by Arab tribes. These structures were erected in a similar hot and dry climate but belong to distinct cultural domains. The qualitative and textual research method employed is based on a case study approach with a comparative-analytical strategy. The process of collecting library and field information, along with its analysis, is presented through graphic models and data analysis tables. The study and comparison of the results have revealed differences in the timing of ritual ceremonies associated with these structures, the origins of which have been explored in the sources. The research findings indicate that, as a result of changes in the indigenous tribal cultures of the Wichita Indians and the Arabs, the grass houses and Mudhif structures have gradually declined in parallel with their tribal cultures.

The lack of success in many civil engineering projects often results from a failure to grasp the concept of scale in design and planning. Understanding active environmental indicators and their impact is vital for determining scale. In the field of architecture and urban governance, "scale" encompasses various quantitative and qualitative aspects, which are diverse and complex, posing a significant challenge for comprehension. This raises the question: How can a designer effectively incorporate quantitative and qualitative measurements in the design environment, reflecting the project's scale, throughout the design process? Most scale errors occur when transferring the designer's vision from a mental image or sketch onto paper to match the actual dimensions of the physical structure in the external environment. While the designer (architect, urban planner, policy maker) may easily sketch on paper, the external environment is subject to invasion, occupation, and irreversible changes, which can lead to its degradation or enhancement. This issue prompts a philosophical investigation into how our limited human understanding can connect meaningfully with the vast external world. The research methodology is qualitative and practically oriented, aiming to present findings through logical reasoning grounded in hermeneutics and the concept of scale

The theorists of Intertextuality believe that there is no original text. Therefore, Masoud Arabshahi's artworks are akin to other works based on previous texts. Masoud Arabshahi is one of the contemporary artists who has drawn from various pretexts in the form and color of his artworks. The use of these pretexts can be recognized through intertextual relationships. In this research, which explores the 'intertextual reading of form and color in Arabshahi's artworks based on Gerard Genette's opinions,' different aspects of text and intertextuality, as well as the theorists of this approach, especially Gerard Genette, are elucidated. Subsequently, Arabshahi's artworks (12 samples), which have been categorized and purposefully selected, are analyzed, and the types of Genette's intertextuality (intentional-overt, intentional-hidden, and implicit) in the form and color of these artworks are specified. This research is qualitative and follows a descriptive-analytical method. It employs basic theory and reasoning to explain the relationships and understand the components of a visual work, conducted in the form of reading texts and documents. This research seeks to answer the question of which pretexts Arabshahi's artworks have utilized in form and color, and how intertextual relationships, based on Genette's theory, are employed in his works. The results indicate that Masoud Arabshahi has made more use of the pretexts from ancient Iranian and Mesopotamian arts in his artworks than other pretexts. Additionally, the use of earlier texts has gradually evolved in Arabshahi's works, transitioning from overt intertextuality to hidden and then to implicit.

The objective of this research is to investigate the 'what,' 'why,' and 'how' of realizing art from the perspective of Islamic philosophy. This examination is rooted in the philosophical genealogy of art across three layers: conceptual, substantive, and existential. Initially, the conceptual origin of this phenomenon is explored from a philosophical standpoint. Subsequently, in the substantive layer, the elements contributing to the definition of art are elucidated in philosophical terms. In the third stage, the method of realizing art from the perspective of Islamic philosophy is scrutinized based on the philosophical reproduction of these elements. Conducted in an analytical-documentary manner, this research reveals that the realization of art, from the perspective of Islamic philosophy, relies on a systematic process comprising four micro-processes. Firstly, the emergence of meaning occurs in the artist, followed by the creation of an idea to transform this meaning into an artistic work. Subsequently, by metaphorically aligning the artistic effect with the intended meaning, the process of rendering that meaning into art takes shape. Ultimately, the process of realizing art concludes with the audience of the artistic work interpreting and internalizing the created meaning.

The art of painting in Isfahan has a historical background dating back to cave dwellings in this region, playing a significant role in the evolution of Iranian painting and maintaining its structure throughout governmental changes. Isfahan's geographical location, situated in the center of Iran, has provided Iranian artists with the opportunity to engage with both Eastern and Western transformations. This characteristic, coupled with the migration and establishment of art universities in Iran, has had a profound impact on cultural and artistic relationships, leading to innovative movements in contemporary Isfahan painting. Drawing on the concept of hybridity and the third space, Homi Bhabha effectively describes the formation of this space in postcolonial critique and emphasizes its significance in generating new cultural and artistic interactions. One of the key factors contributing to the creation of such a space in contemporary Isfahan painting is the presence of migrant artists and graduates from art universities in other cities who have contributed to the emergence of a new visual space in Isfahan's art scene. This article aims to review the identity and formation of the third space in contemporary painting in Isfahan, with a focus on Homi Bhabha's theory. The central question of this research is: What impact have immigrant artists had on the reinterpretation of identity and the formation of the third space in Isfahan's contemporary painting? The research methodology employed is primarily a combination of a fundamental-applicative approach in terms of its objective and a descriptive-analytical approach in terms of its nature. The sampling method utilized is purposeful, involving the selection of four artists who have studied both in Tehran and in universities and schools in Isfahan, particularly in the field of painting. The research findings demonstrate that immigrant artists in Isfahan have successfully contributed to the creation of a new intercultural space within the city, closely aligning with Homi Bhabha's conceptualization of the third space.