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سال بیست و یکم شماره 139 (دی 1403)

Problem statement: 

Understanding authenticity in architecture is a significant and challenging topic. Nowadays, this subject has been primarily explored in the fields of restoration and cultural heritage. Discussions regarding the authenticity of a heritage building frequently arise in architectural discourse. However, due to divergent opinions, the vast scope of the subject, and the lack of precise criteria to address the issues related to the authenticity of architectural works, this important topic has often been overlooked by experts. Consequently, many related studies reflect mutual influence and repetition of general ideas.

From the perspective of this study, one of the most important areas that can assist researchers in understanding the nature of authenticity is philosophy. The concept of perception in architecture is one of the key issues in this field, and a precise understanding of it plays a significant role in re-evaluating the process of authenticity in architectural works. Research question of this article is What dimensions does the concept of authenticity in architecture possess based on the levels of perception in Mulla Sadra’s theory?

This study adopts Mulla Sadra’s Transcendent Theosophy as its theoretical foundation, employing a descriptive-analytical method to define the levels of human perception and to identify the process of actualizing the degrees of authenticity. Logical reasoning was used to illustrate the relationship between the concepts of authenticity and perception in architecture.

Accordingly, corresponding to the three degrees of sensory, imaginative, and intellectual perceptions according to Mulla Sadra, three degrees of authenticity are defined in terms of form, concept, and meaning.

Problem statement: 

The initial phase of design is a complex, crucial, and ambiguous stage. Researchers suggest that designers rely on very simplistic thoughts at the onset of design to narrow down the chain of possible solutions, referred to as primary generators. Primary generators have various sources, one of which is cross-disciplinary references; cinema, in particular, provides a vast array of unexplored spaces. Therefore, the question of this study is: how can cinematic works be considered a source for the formation of primary generators?

This study aims to explore the role of cinema as a formative source of primary generators, thus establishing a credible resource to facilitate the initial design step, which often faces numerous complexities.

The present study first elucidates the concept of primary generators based on existing theoretical discussions in library sources. It then employs qualitative research methods and content analysis of sequences from selected cinematic works to assess the potential of cinema as a source of primary generators.

After gaining insight into the concept of primary generators, a categorization was provided, along with theoretical evidence from cinematic texts for each category. Four distinct viewpoints were adopted based on this categorization, including existential (human life), metaphorical-philosophical, environmental, and formal aspects, with examples from cinematic works presented for each. These findings demonstrate that cinema is a significant source of primary generators and can inspire a wide range of primary generators.

Problem statement: 

Bergson’s Duration is adding a qualitative aspect to the perception of time and in fact, removing the quantitative aspect and space of time. This view of Bergson prompted Deleuze to show a narration from Bergson’s Duration from classical cinema to modern cinema in two books, “Cinema 1” and “Cinema 2”, with a historical look at cinema as an image of modern man. He shows how classical cinema indirectly and modern cinema directly can do this narration. He did not make a distinction between form and content elements in explaining how this narration is happening. The article tries to evaluate this narration by separating all cinematic formal elements from each other and only emphasizing formal elements in Bela Tarr’s cinema.

The article seeks to reach the possibility and manner of narrating time as a Duration through the formal elements of Bela Tarr’s cinema.

After explaining Bergson’s theory with Deleuze’s interpretation of it, which was made using library sources, and after seeing all the Bela Tarr’s works, the article isolated (Epoche) all the formal elements of his cinema from other formal elements with a phenomenological method, and the effect each of these elements has been measured on the narration of Duration.

The article shows that Bela Tarr’s cinema has the ability to narrate Bergson’s Duration due to its purely formal elements. These formal elements are two categories: structural and non-structural. The non-structural formal elements in Bela Tarr’s cinema activate Artistic devices that in the first step, provide a foundation for the narration of Duration, and in the next step, due to the existence of the Boredom Artistic device and non-structural formal elements that lead to this Artistic device, they make it possible for the audience to perceive time as the Duration.

Problem statement:

 Archaeologically, a stepped structure is recorded from the E. hill of Rabʿ-e Rashidi. Firstly, such a structure is thought to be a remnant of an Ilkhanid mosque. Later it is hypothesized as the basement of a large complex, from the Rawza arena, Rabʿ-e Rashidi, 14th CE. Nevertheless, in accordance with the topographic features, plan, spatial design, and architectural materials of this stepped structure, it cannot be the remnant of a structure or the basement of the large building in the Rawza arena. So, two basic questions concerning this stepped structure are its function and relative dating.

The archeological and architectural recognition of the function and dating of the stepped structure at the Rabʿ-e Rashidi provides the required basis for its accurate and methodic restoration.

This research is based on the archeology of buildings, which uses archaeological findings, historical reports, and technical analysis of construction to understand the chronology, typology, stylistics, and function of ancient architectural remains.Firstly, the technical features and architectural materials of this stepped structure were well studied by the field archaeological methods, providing a plan and site surveying and aerial photography by a drone. Secondly, historical reports that provide information about the structures of Rabʿ-e Rashidi, from the 14th to the 17th CE (Al-Waqfiyya al-Rashidiyya & History of Öljeitu & ‘Ālam Ārā-yi ‘Abbāsi) were studied. This allows the authors to examine their hypotheses by matching the collected information from such sources with archeological materials and architectural remains.

Abductive reasoning, based on archaeology, history, and architecture, considers that the hypothesis of the large cistern of Rabʿ-e Rashidi is more likely to be justified. According to Al-Waqfiyya al-Rashidiyya, the relative dating of this staircase structure, as the cistern, goes back to the Ilkhanid period. This structure was repaired in the post-Ilkhanid period.

Problem statement: 

Many countries, including Iran, have developed educational transformation documents that significantly influence educational values and the nature of schools by introducing new content models. In countries such as Finland, Sweden, and Australia, schools are not confined to education but also serve an important social role, offering various resources and services to the surrounding community. However, in Iran, schools have not yet fully embraced this broader function. Research in this area remains limited, and there is no clear or comprehensive classification system for different school types. This research is trying to answer these questions; First question: How do the content models of the Fundamental Transformation Document influence the classification of schools, and what types of schools does it recommend?/ Second question: What are the prevalent geometric organizational models in schools, and what organizational models can the Fundamental Transformation Document recommend?

This study aims to classify schools based on their focus on learning, services, activities, and auxiliary functions, and to determine the appropriate geometric organizational models for school types identified in the research.

This research is applied in terms of objectives and analytical-argumentative in terms of its methods. Data collection was conducted through library and documentary research. To ensure validity and reliability, an expert questionnaire was used. Initially, content models were extracted from educational documents and analyzed based on their focus on education, services, and auxiliary functions, leading to a classification of schools. Geometric organizational models were then set based on frequently occurring patterns of Grutter.

The study places schools into the following categories: park schools, nature-sport-health schools, scientific-research schools, social and cultural schools, and entrepreneurial schools. Social schools represent the broadest category. Eight common organizational patterns were identified. For social schools, a semi-dispersed and semi-free to semi-cohesive and semi-dense pattern is recommended and for other schools, a semi-dispersed and semi-free to scattered and free pattern is recommended.

Problem statement: 

The disorders of Tehran’s urban appearance are a point of consensus among groups concerned with urban facades. However, an examination of urban specialists’ opinions on the matter reveals a lack of consensus regarding the ideal urban appearance.What epistemological foundations underpin the architectural and urbanism trends in Iran concerning the issue of disorder in Tehran’s urban appearance, and which of these foundations is more suitable for managing urban appearance?

Research objective:

This study aims to analyze the philosophical origins of the actions of Iranian architectural and urbanism trends concerning the disorder of Tehran’s urban appearance.

To answer the research question, a qualitative method was employed in two stages based on logical reasoning. Initially, historical library studies were conducted to determine the temporal origin of the phenomenon of urban disarray. Subsequently, based on the classification of intellectual trends in Iranian architecture and urban planninga phenomenological description was made of the views of urban specialists on the causes of Tehran’s urban appearances’ chaos, and these views were compared to their intellectual characteristics, presented as a series of dichotomies. Finally, by examining the philosophical foundations by determining the epistemology of these dichotomies, the research question was addressed.

There is no consensus on understanding the word “Disorder” among architecture and urbanism Trends. Tending to either side of the dichotomy of form and its attributes or content is rooted in our epistemology, where the philosophical explanation of the relationship between the objective and the subjective is crucial. The kind of relationship between objectivity and subjectivity leads to two distinct outcomes in urban appearance. In the case of separation, urban appearance is perceived as an external matter, dominated by geometry and inclined towards Deterministic order, hence managed by specialists. The comprehensive plan for Tehran is a product of this approach. Conversely, in the case of the intertwining of the object and the subject urban appearance becomes perceptional, and beautifying it is neither external nor formal, thus cannot be delegated to specialists. This approach appears to be philosophically more defensible than others. The order derived from this perspective corresponds with the agency and dynamic existence of humans, characterized as inferential, minimal, and fluid.