نشریه مطالعات معماری ایران
سال دوم شماره 3 (بهار و تابستان 1392)

Continuous change of appearance of the unity of essential reason of the architecture of one nation at the physical body of buildings (or accidental features and forms) at the regular connected periods of the history is the main subject of this article. We are proposed to say (from the unitary view of the Islamic doctrine، and throughout a closed style of its philosophical expression) that: every being in the universe، or even every great and unique architectural monument، is accurate، on time and regular، properly placed، and reasonably identified، and in decision، good and perfectly responsive، only at the limited duration of its own integrated cultural، educational، economical and technical time and life. In other words، and looking at the universal complementary and harmonizing order of life، in every relevant subject، and from both the quantitative and qualitative points of view، the defined systemic structure of cultural، educational، functional، economical، technical and formal geometry of every good building is only properly identified and responsive، when it is designed، placed، oriented، built and appeared in its own proper place and unique time. And then، we should be recognized that such a building of last (with its exact functional، geometrical and other specific cultural and … feature) never be allowable to be (completely or partly) built again in any other places and times of the present or future، (especially، in the most probable unreal and inappropriate form، measure and function). In a more clear and defined saying، we are going to talk about a noble principle (or even a certain rule) of unitary doctrine of Islam، and remember it to the some asleep، neglectful or careless architects and master managers and directors of culture of a nation، that: the universe (including its outwardly numerous، multiple and individual parts and organs which have been come into existence and disappeared، in an eternal and unlimited duration of time and an indefinite expansion of place) is a unique and alive truth and a book – form reality by an united structure and integrated parts and completing organs، from which، anything can be omitted or added completely and all of a sudden. And even the apparently omitted and replaced parts or dead organs have never been actually missed from the whole and timeless life of the universe، or absent or ineffective in every momentary act of the entire system and it’s including operating parts and organs. And then، (in an exact similar responsibility of every person on the subject of keeping any book’s ordered structure and it’s including parts، phrases and even singular words) we cannot and not to be reasonably allowed and morally permitted to unconscious and unaware change، omit، add، copy، repeat or replace any small، tiny and apparently unimportant or big and especially chief part of our surrounding environment (including its architectural elements and buildings). In response to the question of the reason of correctness of any reasonable change or creating new buildings in an existing planned site، we say that، respecting the unitary essence and infinity of the Reason’ life and also the Oneness and Unity of all of the apparently individual reasonable decisions، plans and acts، every new (but knowledgeable and in balance) act، eternally has been exactly looked and calculated in the pre existent orderly and completing presented system of universe. In other words، every art and architecture’ coming into existence (it’s becoming materialize or appear، with its all quantitative and qualitative specific adjectives) in a particular period of time and in an orderly environment، has an undividable unity and unbroken relationship with that period and environment، in such a way that every probable imagination of any kind of division and separation between them is equal with their incompletion and existence’ breakdown. Indeed، it is the reasonable essence and unchangeable reality of everything that (relating to the Life، process of penetrating and completion of the united collection of creation move through the river bed of time and place and in every moment، and on the sensible appearance’ screen، has an unbroken complementary course of change in both qualitative and quantitative accidental features. And therefore، the knowledgeable essence of a thing، in relating to its own time and place، and in relation with past and feature، remains everlasting and unchangeable، and so it must be recognized such a perpetual part of the involved site by the Moslem architects in their new designs and building projects.

Rumi was not an architect or architectural theorician. However in his Mathnawi، he dealt in architecture، explicitly or implicitly، intentionally or unintentionally. It can be seen in Mathnawi in diferrent levels: when he talks about the built environment in which he used to live; when he uses architecture elements and spaces as figure of speech; when he borrows an architectural metaphor in talking about the universe; when he proposes general theories which can be applied to architecture too; and finally when he uses architecture as a vehicle for the remembrance of God (zikr). In this article we try to understand the status of architecture in Mathnawi through the text itself. We do this in the mentioned levels، on these topics: the relation between architecture، art، and craft; architecture as revealed in Mathnawi language; the relation between architects and imagination; construction versus destruction; material and immaterial charachteristics of ideal space; and architecture as a vehicle for the remembrance of God.

Scientific education had been prevalent in Iran from many times ago. Although there are limited information of learning situation in pre-Islamic Iran، after Islam conquest the acquisition of knowledge which had a great correlation with religion flourished in Iran. According to the Prophet’s tradition of sermons to his followers، the first place which was used for educational purposes in the first Islamic centuries was mosque. Although the independent madrasa was created in the next periods، the correlation between mosque and madrasa was again formed for their religious education and therefore masjid-madrasa was introduced in Islamic architecture. But this type of architecture has been less studied، so that the features of a masjid- madrasa and the different types of educational and devotional combinations in different eras of Iranian Islamic architecture is not clearly and exactly known. Recognition of this correlation in different periods of the Islamic architecture of Iran is considered in this paper and to know which type has the most correlation between educational and devotional spaces which the term Masjid-madrasa can be used for. Evolution of the correlation between educational and devotional spaces and different types of spatial structures of the correlation in different periods of Iranian Islamic architecture has been considered in the paper. The research is an applied and developmental one and library and field studies have been used. At the end، different combination types of educational and devotional spaces are understood and categorized according to presented charts and finally the most complete form based on presented criterions in the paper is recognized as masjid- madrasa. Isfahan Hakim mosque is found as a prototype and in the final categorizations the evolutional process in Iranian architecture can be easily seen from the first to the culmination of masjid-madrasa building during Qajar era.

Nasser al-Din Shah ordered the Qazvin Hotel (which was used in 1297 AH) to be built by Agha Bagher Arbab. Agha Bagher has become the governor of Qazvin under the name of Sa’d al-Saltane. This Hotel was the first modern hotel in Iran which has been modeled from European hotels and has been built to accommodate the ambassadors and envoys. It was a part of Europe Way Project. Qazvin Hotel is of high level of giving services and preparing facilities to the passengers، which is after 130 years comparable to the contemporary hotels. Restoration of this hotel، in addition to rehabilitation of a historical monument in the modern architecture turns in Iran، will play an important role in rehabilitating the Sepah Avenue in Qazvin.

This paper investigates design factors and the interaction that occurs between the different elements of the design process. Here، at the beginning، the gap created between the level and the extent of capabilities formed in university environments was compared with capabilities expected from graduated people in their professional environments and In continuation، ignoring some parts of the related factors and variables is considered one element of this fault. The relationship between different issues of the design، the properties of the final product، the context in which it sits، the design process and its various sources of inspiration، all contribute to a complex structure that becomes an inevitable subject of carful study. Undoubtedly the management of design process helps designers to perform more systematically. In this context، indicators as tools for assessing the design process and criteria as tools for the evaluation of the design products are factors to allow designers (and others) to manage and control the quality of design. The methods of the evaluation process analysis witch consider the architectural problem space as a network and matrix are some tools that help for analyzing multiple and complex criteria and sub criteria. The method of research in this paper is based on a «logical reasoning» which utilized guidelines of a research design entitled «grounded Theory» and «Model Simulation». At the end of this manuscript، a new model was expressed which discusses a relationship based on the «fuzzy logic environment» among various elements of the «architectural problem space». This environment contains elements such as the principles، range and media of a design and the specifications and factors categorized based on the subject. The objective of this work is to find a response for this fundamental question that how it is possible to improve the capabilities of graduated peoples in their professional environment by identification، analysis and suitable assessment of design factors.

Development of Iran’s foreign affairs in the early 1300s Shamsi resulted in many changes in the structure of society، culture، politics and education. Along with these developments، architecture education has changed from traditional to academic. In1378 Shamsi، Supreme Council of Education changed the degree from integrated masters to undergraduate and post graduate and eliminated special entrance exam. These changes resulted in lack of proper understanding of candidates about architecture as a major and lack or loss of motivation about major and work among students specially novice. Since this issue has become one of the major concerns of architecture education، it is necessary to study reasons of its occurrence and find ways to increase motivation and resolve the issue. Teachers and students proper “goal” setting is deemed to be conducive in generating motivation in students. Based on “goals construct” and through studying and reviewing literature in the field of educational psychology and examining its general educational applications، this research is to propose some architectural applications and educational examples in regard to generating and increasing motivation in novice architecture students. The research method was survey. These applications، as a main result of the study، have been put together in a questionnaire which is then distributed among 12 architecture experts to collect their points of view. The method was Delphi. Experts’ ideas were analyzed by Fridman test. Results showed that all respondents had consensus about proposed applications. The result of this study includes eighteen applications which were formulated based on the context of three theories namely، «goal setting theory»، «goal orientation theory» and «mastery motivation theory».

Urban high buildings due to their potential have a great role in creating a mental image of citizens of the city. This article analysed the social perception of residence toward Shiraz Chamran Hotel. The Hotel is the tallest building of the city with height of 110 meters. In the study، theory and strategy of research framework conducted from documents and library study and the second part of the paper used case study with social survey strategy. This paper focuses on semantic and visual aspects of the building scape in the citizen’s preference. And their perceptions of various aspects of cognitive، emotional، interpretation and evaluation are evaluated. The study population consisted of 100 patients (equal proportions of both gender) was randomly selected. The questionnaire included open and closed were distributed among them. Data analysis has been done on SPSS software (version 19). Spearman correlation coefficients between the survey questions have been calculated. Thus، the unprecedented height of the Hotel in the city is the main factor of the pleasant feeling of the citizens which more influenced by sensory perception and its effects will fade after a while. Due to the low capacity of the hotel، cognitive aspects، interpretation and evaluation of the perception of respondents is less. So، guidelines for the development of other high-rise projects have been proposed as below: A) Paying more attention to the innovative and creative aspects of the framework design of tall buildings in the external form and composition of its components; B) Uses of materials with different colors and creative compositions in facade design that can be contributed to the public perception of tall buildings; C) Preparing more visual harmony with the natural and physical fabric of the city due to the lack of correlation with aesthetic perception and contrast differentiation; D) maintaining the identity & understandable concepts in tall buildings and avoid buildings constructed without proper identification with aspects of meaning and symbolic.