فهرست مطالب

نقش جهان - مطالعات نظری و فناوری های نوین معماری و شهرسازی - سال چهارم شماره 2 (پیاپی 7، پاییز 1393)

فصلنامه نقش جهان - مطالعات نظری و فناوری های نوین معماری و شهرسازی
سال چهارم شماره 2 (پیاپی 7، پاییز 1393)

  • تاریخ انتشار: 1393/09/25
  • تعداد عناوین: 8
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  • حمیدرضا شایان، سجاد معمار دزفولی صفحات 1-10
    با نگاهی به معماری معاصر ایران و نسل های مختلف آن چنین بر می آید که نمونه های برتری در معماری این دوران وجود دارد که می توان بر اساس نوع مولفه های نقد معماری، آنها را به جریانی ویژه در معماری ایران و مستقل از رویکردهای معماری غرب،وابسته دانست. این پژوهش بر اساس روش مورد پژوهی، در پی آن است تا با تحلیل نشانه ها و جریانات فکری موجود در متن آثار معماران، به شناخت گرایش ها و رویکردهای نسل های معماری معاصر بپردازد و به این سوال پاسخ دهد که آیا تسلسل معنی داری در مفاهیم بکار رفته توسط معماران در دوره های مختلف وجود دارد؟ فرض براین است که تبیین گرایش های معماران معاصر، از مدرنیسم ایرانی گرفته تا گرایشهای ملی گرایانه، تجدید حیات گونه و یا کلاسیک بازاری، ضمن این که می تواند ارزش و اهمیت هر اثر را در رابطه با متن تاریخی کشور ارزیابی کند، با تبیین ریشه ها و شاخص های قابل اتکا، سبب می شود تا جریان تئوریک موجود در تاریخ معماری معاصر ایران بازشناسی گردد.
    بر اساس نتایج به دست آمده از تحلیل تطبیقی آثار معماری سه نسل از معماران معاصر، همچنین با استناد به توصیف های صاحب نظران، چنین بر می آید که جریان نظریه در معماری معاصر، در چارچوب چهار مقوله مشخص نظیر ایده های ساختار دهنده، ارجاعات سبک شناسانه، گزینش فرم و نوع مصالح قابل تبیین می باشد.
    کلیدواژگان: معماری معاصر ایران، گرایش، رویکرد، سبک، ساختار
  • مریم انصاری منش، نازنین نصرالهی صفحات 11-21
    فاکتورهای مختلفی در کیفیت محیط داخل موثرند که آسایش حرارتی یکی از مهمترین آنهاست، چراکه بیشتر شکایات و نارضایتی های ساکنین از محیط داخل به علت عدم تامین آسایش حرارتی می باشد. تحقیقات به عمل آمده از صدها ساختمان اداری بزرگ در سراسر جهان نشان داده است که کیفیت محیط داخلی این ساختمانها در حد متوسط است و کارکنان زیادی از محیط کاریشان ناراضی و تعداد بسیاری هم از بیماری های ناشی از ساختمانها رنج می برند. این بیماری ها بر روی کارایی و زمان کار کارکنان بسیار موثر بوده و پیامدهای اقتصادی مهمی برای کشورها به دنبال دارد.
    در ایران، نبود استانداردهای لازم به منظور تعیین محدوده های آسایش در فضاهای اداری، علاوه بر نارضایتی حرارتی و کاهش میزان بهره وری کارکنان، افزایش مصرف انرژی را باعث شده است. هدف از این تحقیق تعیین محدوده مناسب آسایش حرارتی ساکنان، به منظور بهینه سازی کیفیت محیط داخل در ساختمان های اداری کرمانشاه می باشد. لذا با انجام مطالعات میدانی و اندازه گیری محیطی دما و رطوبت نسبی و همزمان استفاده از پرسش نامه به بررسی محدوده مناسب این فاکتورها در این شهر پرداخته شد. نتایج نشان داد که محدوده مناسب حرارتی در فضاهای اداری شهر کرمانشاه، بین 20 تا 26 درجه سانتی گراد و حداقل رطوبت نسبی تقریبا 19 درصد است.
    کلیدواژگان: آسایش حرارتی، ساختمان های اداری، کیفیت محیط داخل، محدوده مناسب دما و رطوبت نسبی
  • امیرمسعود دباغ، سیدمصطفی مختاباد امرئی صفحات 22-35
    تا امروز آنچه را که به عنوان نشانه شناسی معماری، می شناسیم زیرمجموعه ای از نشانه شناسی هنر و در سایه مفاهیم آن، فاقد نمودی مستقل است. باتوجه به مفاهیم نظری معماری و همسویی با اندیشه های زبانشناختی و نشانه شناسی، نیاز به بازتولید و تدوین نشانه شناسی معماری مشهود است. بدین منظور ابتدا مفاهیم زبانشناسی و نظریات نشانه شناسان مورد بازشناسی قرارگرفته و سپس به مدلسازیشان پرداختیم. با این رویکرد معماری چون متنی فضایی مورد خوانش قرار گرفته که در پیکره خود از لایه های متعددی تشکیل شده است. این لایه ها به صورت سیستمی و فرآیندی با یکدیگر در ارتباط بوده و متن معماری را به وجود می آورند. اندیشه های مربوط به کارکرد، مسائل اقتصادی، زمان، مفاهیم زیباشناختی، مسائل اجتماعی-فرهنگی، مفاهیم هرمنوتیکی لایه های سیستمی و مفاهیم مربوط به آموزش، تجربیات، موضوعیت، کارفرما، دیدگاه معمار لایه های فرآیندی معماری را شکل می دهند. خوانش نشانه شناختی معماری، به دنبال بازتولید طرح بر اساس ارتباط بین این لایه ها و بر اساس برداشت مخاطب است. در این مقاله پس از بررسی نظریات نشانه شناسان، مدل نشانه شناسی معماری، مبتنی بر مبانی نظری معماری و نظریات نشانه شناختی، مطرح شد. سپس مدل ارائه شده در خوانش سه بنای مسجد معاصر تهران(مسجد دانشگاه تهران، مسجد الغدیر میرداماد، مسجد دانشگاه تربیت مدرس) مورد آزمون قرار گرفت.
    کلیدواژگان: مدلهای نشانه شناختی، متن معماری، خوانش معماری، نشانه شناسی مسجد
  • محمد جواد مهدوی نژاد صفحات 36-46
    گرایش به «کیفیت» در طراحی و ساخت و یا در معنایی کامل تر میل به شکوفایی، موضوعی است که امروزه بیش از هر زمان دیگر توجه همگان را به خود جلب کرده است. مروری بر معماری معاصر کشورهای در حال توسعه نشان دهنده آن است که گرایش به نوعی معماری باکیفیت و قابل رقابت با معماری کشورهای توسعه یافته، جریان جدیدی را در معماری معاصر این کشورها رقم زده است. هدف از این مقاله بازشناسی و تحلیل گرایش به معماری با کیفیت در تعامل با دو مفهوم «شکوفایی» و «فناوری» در معماری معاصر کشورهای در حال توسعه است. در این راستا برای شناخت همزمان سطح کیفی آثار، مهمترین تدابیر طراحانه در آن ها مورد بحث و بررسی قرار می گیرد. بر اساس چارچوب تنظیم شده همبستگی) P value رفته در معماری معاصر کشورهای در حال توسعه در پنج حوزه: 1(کانسپت طرح)ایده های ساختاردهنده طرح(، 2(فناوری ساخت، 3(مصالح، 4(شکل و فرم و 5(رابطه با محیط مطالعه می شود. دستاوردهای پژوهش نشان دهنده آن است که هرچند در حوزه فناوری ساخت نتایج قابل قبولی در معماری معاصر کشورهای در حال توسعه وجود دارد؛ لیکن در حوزه دستیابی به معماری باکیفیت دستاوردهای قابل قبولی مشاهده نمی شود.
    کلیدواژگان: شکوفایی، کیفیت، فناوری های نو، معماری معاصر، کشورهای در حال توسعه
  • فرح حبیب، زهرا برزگر، مریم چشمه قصابانی صفحات 47-53
    مصرف انرژی ساختمان متاثر از تکنیک هایمتعددی می باشد که شامل تکنیکهای فعال و غیر فعال است. از جمله تکنیک های فعال مرتبط با بدنه ساختمان نوع مصالح، اندازه و نوع پنجره، عایق بندی حرارتی، بهره گیری از انرژی خورشید و جهت گیری ساختمان است. این پژوهش، رویکردی برای تعیین تاثیر و اولویت بندی پارامترهای اصلی تعدادی از تکنیک های ساختمانی بر مصرف انرژی، ارائه می کند.پارامترهای موثر در راستای کاهش مصرف انرژی ساختمان شامل تعداد ساکنین، مساحت ساختمان، تعداد طبقات، میزان همجواری، نسبت پنجره به دیوار، نسبت طول به عرض، تعداد بر (نما) ساختمان است. این پارامترها دارای نقش و اهمیت یکسان در میزان مصرف انرژی ساختمان نیستند؛ از این رو در این مقاله از فرایند تحلیل سلسله مراتبی جهت تعیین وزن پارامترهای اشاره شده استفاده شده است. نتایج تحقیق حاکی از آن است که موثرترین پارامتر نسبت پنجره به دیوار بود. با توجه به ارزش این پارامتر (0.36)، فضای پنجره و مصالح آن از نظر مصرف انرژی در اولویت اول جای دارد. پارامتر مهم دیگر تعداد نماهای (بر های) ساختمان بود. اگر ساختمان دارای 1، 2، 3 یا چهار بر باشد، مصرف انرژی تفاوت قابل توجهی خواهد داشت. کم تاثیر ترین پارامتر تعداد ساکنین ساختمان بود.
    کلیدواژگان: مصرف انرژی ساختمان، فرایند تحلیل سلسله مراتبی، تابش خورشید، جهت گیریساختمان
  • امیرحسین شبانی، محمد سعید ایزدی * صفحات 54-63

    تحول بازآفرینی شهری، داستان تعامل و گاه تضاد اولویت های اقتصادی و فرهنگی بوده و این موضوع دربسترتغییر پارادایم ها و الگوهای حاکم برنظام های سیاسی-اقتصادی و تحولات اجتماعی رخ داده است. نقش فرهنگ دربازآفرینی شهری نسبت به دیگر عوامل تغییر معناداری داشته است؛ چنانچه در دهه های اخیر تاکیدات فرهنگی اصلی ترین رویکرد در بازآفرینی شهری شده است. دراین میان نظریه شهرخلاق که در چارچوب تحولات اجتماعی-اقتصادی عصر حاضر جهانی شدن را در محتوای اصلی خود داراست، از سویی توجه ویژه به سرمایه های انسانی و اجتماعی دارد و از سوی دیگردر قالب پرداختن به ویژگی های مکانی، سعی درایجاد رقابت اقتصادی، انسجام اجتماعی و تنوع فرهنگی دردستیابی به تصویری یکتا از شهر را دنبال می کند. لذا پرداختن به ظرفیت های این نظریه در عرصه بازآفرینی میتواند چشم اندازهای جدیدی را پیش روی سیاستگزاران این عرصه در کشورمان قرار دهد.
    پژوهش حاضر به دنبال تدقیق ادبیات شهر خلاق و تبیین جایگاه آن دربازآفرینی فرهنگ مبناست بدین منظور با روش تحقیق توصیفی-تحلیلی تئوری شهر خلاق و راهبرد های برآمده از آن را مورد بررسی قرار داده است. یافته های پژوهش بیانگرآن است که توجه به دو عامل اصلی فرهنگ و اقتصاد(رقابت) در بستر ویژگی های مکانی، نظریه شهر خلاق را در راستای بازآفرینی شهری قرار داده است. این تحقیق سازوکار چنین ارتباطی را در قالب یک مدل مفهومی ارائه نموده است؛این مدل مفهومی می تواند راهبردهایی در عملیاتی نمودن نظریه شهر خلاق به عنوان رویکرد مداخله در بافتهای هدف برنامه های بهسازی و نوسازی شهری ارائه دهد.

    کلیدواژگان: بازآفرینی فرهنگ مبنا، شهر خلاق، خلاقیت، بافت های شهری
  • مهران علی الحسابی، مصطفی بهزادفر، امیر شکیبامنش صفحات 64-75
    پرداختن به مقوله ادراک عمق و فاصله و تحریف های عامدانه در حوزه طراحی شهری، طراحان را قادر می سازد تا از طریق نظم دهی و چیدمان آگاهانه کیفیات فضایی به گونه ای مناسب و در راستای مقاصد کلی طراحی، این تجربه ادراکی را دستخوش تغییر قرار دهند و بدین طریق آگاهانه مسیری را کوتاه تر و یا بلندتر از شرایط حقیقی آن در ذهن ناظرین و استفاده کنندگان از فضا متبادر سازند. در این مقاله، از میان رویکردهای نظری متعدد موجود پیرامون نحوه عملکرد سیستم بصری انسان در رابطه با ادراک عمق و فاصله، به سبب تاکید بیشتر متون علمی انتشار یافته در سال های اخیر و نیز از منظر جامعیت تئوریک، به رویکرد نشانه خواهیم پرداخت. بر اساس این رویکرد در بخش نخست از این مقاله، تلاش گردیده است تا با نگرشی علمی و از دریچه نگاه طراحی شهری، شاخص ترین مولفه های تاثیرگذار بر مقوله ادراک عمق و فاصله مورد بررسی و تحلیل قرار گیرند؛ مولفه هایی که می توان با تجمیع و یا کاستن از میزان آن ها به طور مستقیم به کنترل نسبی میزان عمق و فاصله ادراکی در فضای کالبدی پرداخت. در ادامه و در بخش دوم نیز به بحث پیرامون تحریف های عامدانه با رویکردی کاربردی و با مدنظر قرار دادن قابلیت به کارگیری آن ها در طراحی ساختارهای کالبدی – فضایی شهری، پرداخته شده است.
    کلیدواژگان: طراحی شهری، عمق و فاصله ادراکی، رویکرد نشانه، تحریف های عامدانه، خطاهای کاربردی اپتیکی
  • فریبرز سجادی، محسن رستمی، ثریا رستمی صفحات 76-85
    دوران قاجار نمودی از چالش سنت و تجدد در معماری است. از نقوش سرستون ها یا نقوش بالای سر در ورودی ها گرفته تا عناصری همچون سنتوری، فرم پنجره و حتی اقتباس حجمی از فرم ساختمان، تنها گوشه ای از معماری عصر قاجاریه را نشان می دهد. این درآمیختگی نه تنها در معماری بلکه با تحولاتی در سایر ارکان و پدیده های اجتماعی ایران رخ داد و این اقدام در جای خود تجددخواهی به شمار می رفت. از این رو ضمن بررسی سنت و تجدد به این پرسش ها پاسخ داده شود: 1(نحوه مواجه شدن با معماری غرب در تجربه معماری معاصر دوران قاجار چگونه بوده است؟ 2(آیا می توان رابطه ای میان گرایش معماران به طراحی اجزای معماری مبتنی بر معماری غربی و زمان شکل گیری آثار معماری مشاهده نمود؟ برای یافتن پاسخ به این پرسش ها از روش تحقیق استدلال استقراری، از تکنیک های توصیفی- تحلیلی و تحلیلی- تفسیری استفاده می شود، برای جمع آوری آرای افراد مطلع در حوزه معماری از تکنیک پرسش نامه استفاده می شود. نتایج نشان می دهد که تاثیر معماری اروپا بر معماری ایران در دوران قاجار ابتدا خود را در ساختمان های سلطنتی، سپس در بناهای عمومی و دست آخر در معماری مسکونی نشان داد.
    کلیدواژگان: معماری، تاریخ، سنت، تجدد، قاجار
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  • Hamidreza Shayan, Sajad Memar Dezfuli Pages 1-10
    By Looking at Iranian Contemporary Architecture and it''s different generations It can be found that there are examples of excellence in architecture which Can be based on the characteristics and components of the Architectural Review، They to a specific stream architecture in Iran and Independent of the architectural approaches of the West، as an affiliate. This research is based on case studies، it followed up with an analysis of the signs and current thoughts available in the text architecture، to identify trends and approaches in contemporary architecture generations and answer to the question whether there is significant sequence in the concepts used by architects at different periods? It is assumed that the defining trends of Iranian contemporary Iranian architects from Iranian modernism to nationalist tendencies، Revitalization or classical market، while It can also work in conjunction with the value and importance of the historical context of the assessment، Explaining the origins and reliable indicators، Makes the flow of existing theoretical on Iranian history of contemporary architecture be recognized. Defining the correct position of Iranian Islamic architecture in the post modern world elicits various points of view. The increasing importance of literature related to linguistic philosophy، post-constructivism، cultural relativism، and the end of ideology has instigated a sort of mental inflammation in the community of Iranian architects. A pragmatism abstracted from the environment is one of the trends that have developed in this respect. Based on results of a comparative analysis of three generations of Iranian contemporary architects work، Also، according to the authors describe، It follows that the theory of contemporary architecture in Iran، Within four specific categories، such as The giver ideas، Aesthetic style references، Selection Form and types of materials can be explained. The analysis of these four components in architecture works explains that the giver ideas of posit has been followed with more persistent in the pursuit of different generations and over time in comparison to the other components has less changes. This perception can underline the existence of a common discourse between color، smell and Iranian structure that can be the missing detail of the Iranian contemporary architecture. Throw a glance at current Iranian architecture and its generation، it is realized that there are some preferable samples in this period which could be referred as a special stream in Iranian architecture and in depended from west approaches، based on the type of characteristics and architectural criticize components. Iranian current architecture is one of areas that has not been studied exactly and by analyzing works and current stream and it is especially referable. It is realized from rapid and also extreme changing of Iranian architecture that the trend to classical architecture has been changed in different situation. These rapid changes have been happened due to modernizing and mechanism that could be considered as modern period effects. Iranian challenges with contemporarily، in recent two centuries، was expanded in governmental and intellectual parties. In this era، extreme changes was happened in the most areas including architecture and provide different approaches and simultaneously some intent to classical thinking. This research، based on case study approach، followed analyzing the signs and streams of consciousness in architectures work contexts، to realize the approaches of current generation of architecture and also find the answer for a question about finding a reputable track record in the used concepts with architects depending their different periods. It is assumed that، specifying the definition of Iranian current architect’s trend، like Iranian modernism، nationalism، renovate or classical popular approaches، helps to recognize theoretical stream of current Iranian architecture with realizing and specifying roots and valuable indicators، and furthermore can assess the importance and worthiness of each work. Reviewing current Iranian architecture shows، in spite of various generations، the main concepts have not any diversity and its evaluation will be realized and performed with improvement of these concepts. Anyway، because of this subject that the attention to current Iranian architecture for finding a reliable classification، needs reviewing basic concepts like methodologies، forms and architectural studies، as the basis of the effective items like design ideas، design locations and frame works، design themes، spatial concepts، visual shapes and the used material، therefore we have to realize the hide vision of these three generations of architecture، considering right viewpoint، to provide a statement for classifying or finding a similar theme between Iranian and current world architecture. Based on the results of comparative analysis of three generation of Iranian architectural works، and also regarding the clear-sighted authors description، it seems that، the stream of theory in Iranian current architecture could be realized as a framework by four specific categories including structural giver ideas، stylistics refers، form selecting and type of materials. Analyzing these four categories in architectural works shows that the structural giver ideas have been followed by different generation with more persistent and have the minor changes than other categories during this era. This perception discovers a common thought in Iranian current architecture that can be the missed stream of it. The trends and ideas underlying a design are the main concepts on which the main design of a work of architecture is based on. Conceptually، the structural idea of a design is the main definition that architecture is based upon and in some literature، it is even viewed as a concept. Based on evaluation and analysis of the frameworks of the prominent works of Iranian architecture of three generations، mainly after the Islamic Revolution، structural ideas of architectural designs and the product of prominent Iranian works of architecture is a mélange of international and regional intellectual currents، the leading culture of the designs as they relate to their era and social، political،cultural and economical interactions. Furthermore، a deep review of contemporary architecture in Iran after Islamic reveloution، points out a lack of familiarity with main universal contemporary architectural theory، which is the main reason behind the architects، designers، professors and researchers of architecture، and most importantly، those who enjoy architecture.
    Keywords: Iran Contemporary Architecture, Tendency, Approach, Style, Structure
  • Maryam Ansari Manesh, Nazanin Nasrolahi Pages 11-21
    The increase in energy consumption within modern societies in addition to expiration of fossil resources are two vital factors which compel the world to alter dangerously، while construction industry around the world consumes 25%-40% of energy in different countries. Above all postindustrial era causes the increase in number of employees as well as bureaus. As a result، the amount of energy consumption and also the quality of indoor offices has always been one of the main concerns of architects. Several studies represent that the thermal discomfort is the most common complaint in offices. The thermal aspect of indoor buildings، not only provides comfort for the residents، but also brings saving in energy، health، productivity، and also a significant morale improvement of the staff. Since most complaints of indoor environment are caused by failure in providing the adequate thermal comfort، researches concentrated on several offices around the world suggest that indoor quality of such buildings is about average; in which many are dissatisfied about their workplace and while many are suffering from building-related illnesses that negatively affect the productivity، duration of working and having economic consequences for those countries. The requisite of thermal comfort within the indoor environment is the existence of thermal comfort standards. These standards define indoor thermal comfort zone according to the physical and personal indexes. The most important international standards are ISO7730 and ASHRAE 55. Nowadays، various models are introduced for appraising thermal comfort within different standards of thermal comfort. According to ASHRAE Standard 55 (2010) thermal comfort is defined as «condition of mind that expresses satisfaction with the thermal environment». Therefore thermal comfort contains different physical and psychological aspects، which means several factors are in effect for this purpose. Thermal comfort is related to four controllable factors namely air temperature، radiant temperature، air speed and as well as humidity. thermal comfort also is influenced by three additional factors: activity، clothing and personal expectations. As mentioned above، there are several standards for thermal comfort in the world. The most important ones are international standards ASHRAE 55 (North America) and ISO 7730 (Europe). These standards congruous the theoretical analysis of heat exchange of the human body and gathering information regarding the climate chamber. These standards are appropriate for stationary and homogeneous conditions which are not suitable and hence not much used in the real world. This fact is evident by the disparity between the predicted thermal comfort by these standards and the real sense of human comfort in different places. These standards specify comfort zones in which a large percentage of people perceive the environment thermally acceptable by certain personal criteria. According to these standards، acceptable thermal zone is defined based on satisfaction of at least 80% of the occupants. In other words، performing within the provided criterion of this standard does not mean the 100% satisfaction، as if it is difficult to satisfy everybody due to personal differences. It is to be mentioned that personal control of thermal environment or personal compatibility (by clothing or activity) also increases the satisfaction level. Considering the complexities of defining thermal comfort، several models are represented which are allied to the physical and psychological parameters as the physiological ones. Two forthcoming models are available for appraisal of thermal comfort: PMV model; which explains individuals'' response to the thermal comfort in the physiology of the heat transfer. This model evaluates the indoor environments and constitutes the current thermal comfort standards. According to the aforementioned standards، environmental thermal conditions must be maintained homogeneously. Therefore، PMV model is not appropriate for appraising inert thermal sense in places like residential buildings which are not thermally homogeneous and have different thermal zones. However regarding several capacities of this model، many studies have been accomplished in order to adjust this model for such buildings by implementing some changes. The other model named ''adaptive'' explains individuals'' response to the thermal comfort considering behavioral، psychological and physiological aspects. The thermal comfort standards define the thermal environment conditions of residents based on data obtained by climate chamber experiments. Therefore، consequently، there are problems for using these standards and also thermal comfort models for those who are living in different climates. That is to say regions with different climatic conditions may need different levels of satisfaction parameters through these standards. In other words، due to different climates، cultures، and etc.، the thermal satisfaction conditions differ in different places. Hence، many countries all over the world have conducted field studies to introduce the most favorable thermal conditions that fit their location best. The lack of essential standards for determination of thermal satisfaction limits in office buildings in Iran، results in employees’ thermal dissatisfaction and overall performance reduction. This study uses field methods for measuring environmental variables (temperature and humidity) and also leading inventory (n=328). Kermanshah city is chosen as a case study. Since this city lacks a dominant type of office buildings and the only common aspect of such buildings is indoor offices، thus this feature is considered to choose the samples. To develop the questionnaire، that of ASHRAE 55 (2010) is used، however according to type of the research and the questions cover، some related questions are added. Moreover، answers are adjusted in seven scales in order to be analyzable using available scales of thermal comfort standards such as 7-point scale of ASHRAE. According to results، 81. 7% of whole 328 respondents and 65. 5% are satisfiedwithtemperature and humidity respectively. Adapting these results to ASHRAE 55، it is concluded that most staff are satisfied in their work place however the results are the opposite about the humidity. To determine suitable range of temperature and relative humidity in order to define comfort zone in offices in Kermanshah، measured data using FLUKE AIR METER are opposed to the results about temperature and humidity (questionnaire). Data analysis using SPSS represents that neutral temperature range through offices in this city is 20-26 centigrade and low relative humidity is about 19%.
    Keywords: thermal comfort, office building, indoor enviromental quality, appropriate temptature, relative humidity range
  • Amir Masod Dabagh, Seyed Mostafa Mokhtabad Amrei Pages 22-35
    The design of mosques in the Islamic countries has brought the recent designers with two key challenges. That is، the ideas and concepts regarding the tradition of Islam on the one hand، and the postmodern ideas of the global village on the other hand attract the design to themselves. Semiotics is a discipline that reads the texts to recognize and semanticize the signs of the texts. Architectural semiotics is a sub-discipline of art semiotics and therefore has a dependent representation. Considering the theoretical concepts of architecture، and along the linguistic and semiotic theories، it is required to develop and reproduce architectural semiotics. For this purpose، we introduced the linguistic concepts and theories of the semioticians، and then provided a model for semiotic reading of architectural works as spatial texts that are formed from diverse layers. These layers، which are classified into process and system layers، form the architectural text by their interrelation. The ideas about function، economic issues، time، aesthetic concepts، socio-cultural issues، and hermeneutic concepts form the system layers، and the issues regarding training، experience، subject، employer، and architect''s attitude form the process layers of an architectural work. The semiotic reading of architecture aims to reproduce the design based on the relations existing between these layers and the impression of the addressee. In this paper، a model of architectural semiotics has been developed and introduced by the study of the theories of semioticians and based on the theoretical fundamentals of architecture. This model has been employed and tested for the reading of three contemporary mosques of Tehran (mosques of Tehran University، Tarbiat Modares University، and al-Ghadir Mosque in Mirdamad Street). The reading of the contemporary mosques can be used for the study of the concepts of Islamic tradition and its relation to the today''s world. The reading of these experiences teaches the today''s designers how to behave with the valuable principles of Islam tradition and its reflection in the recent era. Today، there are different theories on the formation and reading of architectural products. Such theories have been derived from human science in the past three decades. For instance، the ideas of Derrida can be traced in the ideas and designs of Eisenman، the philosophy of Heidegger has been reflected in the notions of Norberg-Schulz، or the recent architects and theorists such as Alberto Perez-Gomez and Nader El-Bizri have conducted phenomenological researches in architecture. Since 1970s، linguistic studies have been employed in art studies and it was followed by the application of semiotics as a branch of linguistics in the criticism and reading of artistic texts. In 1980s and 1990s، several books and PhD theses were written based on architectural semiotics. Such publications focused mainly on the literature of semiotics and tried to create a link between these concepts and the theoretical fundamentals of architecture. They provide no specific method based on semiotic theories for architectural reading. Considering these facts، this paper aims to introduce a method for architectural reading based on the semiotic theories. In any interpersonal action or communication، we produce and reproduce text. Any social text (like architecture) contains a message or a set of messages that are transferred to the addressee through signification nodes and intertextual relations. The addressee receives the messages of the text and semanticizes the text based on the network forming the text as well as the intertextual relations and layers that are interpreted by social conventions، subjective issues and understandings، and his point of view. That is، any text provides the addressee with a signification system and network، and each component of this network refers to another component in the network. Each component of the network is a sign inviting the addressee to represent and reproduce the text، which is itself a network of signs. These signs have no meaning in isolation، and they only receive their signification function when they are inserted in a network-like context of a text. To understand، interpret، and semanticize the text، a coherent discipline is required to recognize the elements of a text، intertextual relations، and interpret the meaning of a text. This discipline is called semiotics، and it is concerned with anything that can be taken as a «sign» Semiotics is the understanding of the phenomena of the world by reading the existing signs، and it produces meaning for the social phenomena based on signification relations. In other words، semiotics is the study of signs based on all cultural manifestations such as language، music، film، fashion، architecture، and the layers beyond tangible signs، as well as connotations and the absent realms of a text. Semiotics has three main functions including the study of signs، the relation between signs، and reading of addressee. Two structuralist and poststructuralist approaches govern semiotics. The structuralist semioticians had a linguistic approach and decoded the texts by believing in a direct relation between text and its meaning. The poststructuralist semioticians recognized an indirect relation between the text and its meaning، and dealt with the pluralistic aspects، internal layers of the text، intertextual relations، and Différance. In the following، several contemporary mosques in Tehran have been studied using semiotic approach. The hermeneutic layer consists of several sub-layers and meaning streams from a sub-layer to another sub-layer in a fluid and unfixed manner. Thus، the reading of an architectural text requires to pay attention to the layers forming the design and to semanticize the design based on the collocated layers. In the construction of contemporary mosques، no attention is paid to the layers of the architectural body and the balance between these layers، and only the functional and anatomical aspects are of significance. The simultaneous attention to the layers involved in designing contemporary mosques enables us to develop mosques that have appropriate functions، reflect Islamic aesthetics، have an Islamic-Iranian approach، and meeting the needs of today''s human. In such a case، there will be no need to repeat the history and merely imitate the historical elements of mosques، but rather، the broad Islamic concepts are reproduced based on today''s approach.
    Keywords: Models of semiotics, Text of architecture, Reading of text, Semiotics of mosque
  • Farah Habib, Zahra Barzegar, Maryam Cheshme Ghasabani Pages 47-53
    The building sector is responsible for one-third of global final energy consumption and thus environmental damage، carbon dioxide production. Some reasons for ever increasing building energy consumption: climate change، increase in household electricity load، the growth of real estate، fast-growing household electrical appliances، changes in industrial structure، huge energy consumption of the existing buildings، and the lack of strict government supervision. The world''s total energy requirements are mostly used in sectors such as transportation، industry، residence، commerce، etc.. Although most of the energy consumption during the period 1973 to 2009 belonged to the industrial sector، it can be said that the proportion of residential buildings is very high and is increasing rapidly.. World Statistics published by the Department of Energy، United States of America in March 2010 shows that most houses widely use energy for heating and hot water and then cooling and lighting. Therefore، the revision of quality architectural design of buildings، based on the climatic principles، will be very effective in optimizing fuel consumption so that the energy consumption can be controlled wisely and optimally. On the other hand the use of renewable energy technologies can provide energy surplus of buildings and eliminate the problems associated with fossil energy in great extent. Adopting conservation measures on a large scale does allow reducing both electricity and total energy demand from present day levels while the building stock keeps growing. They simulate climate-dependent hourly building energy demands at user-defined scales، typically an individual state or utility zone. Due to the effective role of energy in economic development and its increasing consumption in parallel with the growth of human communities، considering resource constraints and preventing from facing with an energy crisis، the need for conservation through management application is necessary which demands new strategies and approaches in both environmental and architectural revisions for design and building. In particular، the high energy consumption especially in buildings is a major problem in developing countries which has economic and environmental impacts of prime importance while it is considered to be the most significant cornerstone of growth in different dimensions. Buildings، it is statistically shown، account for a third of total global energy consumption. Energy consumption in buildings is increasing due to several factors including climate change، increasing electrical energy consumption in households، real estate development، diversity of modern appliances، changes in industry structure، very high energy consumption in existing buildings and the lack of adequate supervision of the state.. Therefore، efforts must be focused on the control and management of energy consumption. The purpose of energy management is reducing energy consumption in a way that is logical and economical and can cause no negative effects on welfare and thermal comfort. So، a focus for building energy consumption efforts is of great importance. The occupant behavior and building manner can both increase the building energy consumption، especially residential ones. In the building quality part، there are many techniques affects on building energy consumption، which divide to passive and active. The passive ones are the techniques that related to the body and design of a building as material، utilization of solar radiation on the bodies، length and width of building، insulation، window، and so on without electrical or other energy portfolio، but the effect of these parameters was not equal. Therefore، this study presents an approach to determine the effect of main parameters of some of the building techniques on energy consumption. In this study، these parameters were identified and evaluated and finally were Prioritized. Not all of the parameters has equal role on energy consumption، which the mentioned weights indicated. The remainder of the paper organized as follows. Firstly، the parameters were identified by research and interview. The effective parameters recognized as the alternatives of the mentioned hierarchy3 step trees، which can be listed as follows: occupants; built area; Step No.; Proximity degree; Window to wall ratio; Length to width ratio; Side. Secondary، the questionnaire performed and completed by experts as architects، mechanical engineers and energy engineers. Analytic hierarchy process (AHP) and its applications in surveys related to buildings were presented. Up to now، the AHP method has been widely applied in the general policymaking in buildings. Next، the effective parameters on energy consumption evaluated، and in next section the AHP for the approach concernedexplained and resultsoffered. Finally، the last Section includes the concluding remarks. The weights and priorities of the effective parameter are illustrated. As a result، considering weight of factors in building designing process، the different parameters of BO can be classified and evaluated: First، the main effective parameter is window to wall ratio. Depends on the weight of this parameter (0. 36)، the window area and materials are important for building designers. Another main parameter is side no.، if a building has 1 or 2 or 3 or 4 side، its energy consumption differs fundamentally. Choosing the main direction، side and the side no. are all associated. One of the main results is about the building area depending on energy consumption، which considers having the main role، but in present survey concluded that the third effective parameter is area. The least effective parameter is occupant number، due to energy load of building space and quality، not building occupant. Urban designers and Architects considering Building Orientation (BO) and its parameters can design buildings that are energy efficient. If building orientation)BO (is considered، solar radiation absorbed by the surface structure of the building will become more favorable، and consequently the energy consumption will be reduced. However، if the building orientation (BO) is considered along with climatic factors، there will be direct effect of increased energy costs. In addition، urban designers must greatly pay attention to building sides while determining the building blocks as the transmitting surfaces are from outdoor to indoor in summer and vice versa in winter. Architects must also pay attention to different ratios of windows to create the proper ratio of heat transfer in the buildings. The materials used in the buildings are of great importance.
    Keywords: Building Energy consumption, Solar radiation, Building orientation (BO), Analytic Hierarchy Process (AHP)
  • Amirhossein Shabani, Mohammad Saeid Izadi Pages 54-63

    The evolution of urban regeneration was the story of interaction and sometimes conflict of economical and cultural priorities and this subject has happened to change the paradigms، theories and pattern which are dominanted on political-economical systems and social transitions. During the last decades، the role of culture in urban regeneration in related to other factors has been changed scientifically. In recent decades، cultural emphasis has been the main approach to urban regeneration. Meanwhile، today in the context of social-economical changes، the theory of creative city which has globalization in its main content، on the one hand has special attention to human، social، and cultural capitals and on the other hand in dealing with spatial features try to create economic competitiveness، social cohesion and cultural diversity reaching to unique image of city. Therefore، addressing capacity of the creative city theory in urban regeneration field can has the new visions on the strategies and policies in this field in our country. This study explains creative city theory and describe its position in culture led urban regeneration، for this purpose، the theory of creative city and its urban strategies with descriptive-analytical research method has been studied. The results show that the theory of city creative with emphasis on culture and economic (competiveness) in physical context، sets to culture led urban regeneration direction and such a communication mechanism is presented in the form of a conceptual model. This conceptual model can offer strategies in operating this theory as an intervention approach in obsolescent and historical contexts. The evolution of urban regeneration was the story of interaction and sometimes conflict of economical and cultural priorities and this subject has happened to change the paradigms، theories and pattern which are dominanted on political-economical systems and social transitions. During the last decades، the role of culture in urban regeneration in related to other factors has been changed scientifically. In recent decades، cultural emphasis has been the main approach to urban regeneration. Meanwhile، today in the context of social-economical changes، the theory of creative city which has globalization in its main content، on the one hand has special attention to human، social، and cultural capitals and on the other hand in dealing with spatial features try to create economic competitiveness، social cohesion and cultural diversity reaching to unique image of city. Therefore، addressing capacity of the creative city theory in urban regeneration field can has the new visions on the strategies and policies in this field in our country. This study explains creative city theory and describe its position in culture led urban regeneration، for this purpose، the theory of creative city and its urban strategies with descriptive-analytical research method has been studied. The results show that the theory of city creative with emphasis on culture and economic (competiveness) in physical context، sets to culture led urban regeneration direction and such a communication mechanism is presented in the form of a conceptual model. This conceptual model can offer strategies in operating this theory as an intervention approach in obsolescent and historical contextsThe evolution of urban regeneration was the story of interaction and sometimes conflict of economical and cultural priorities and this subject has happened to change the paradigms، theories and pattern which are dominanted on political-economical systems and social transitions. During the last decades، the role of culture in urban regeneration in related to other factors has been changed scientifically. In recent decades، cultural emphasis has been the main approach to urban regeneration. Meanwhile، today in the context of social-economical changes، the theory of creative city which has globalization in its main content، on the one hand has special attention to human، social، and cultural capitals and on the other hand in dealing with spatial features try to create economic competitiveness، social cohesion and cultural diversity reaching to unique image of city. Therefore، addressing capacity of the creative city theory in urban regeneration field can has the new visions on the strategies and policies in this field in our country. This study explains creative city theory and describe its position in culture led urban regeneration، for this purpose، the theory of creative city and its urban strategies with descriptive-analytical research method has been studied. The results show that the theory of city creative with emphasis on culture and economic (competiveness) in physical context، sets to culture led urban regeneration direction and such a communication mechanism is presented in the form of a conceptual model. This conceptual model can offer strategies in operating this theory as an intervention approach in obsolescent and historical contextsThe evolution of urban regeneration was the story of interaction and sometimes conflict of economical، social and cultural priorities and this subject has happened to change the paradigms، theories and pattern which are dominanted on political-economical systems and social transitions. During the last decades، the role of culture in urban regeneration in related to other factors has been changed scientifically. In recent decades، cultural emphasis has been the main approach to urban regeneration. Meanwhile، today in the context of social-economical changes، the theory of creative city which has globalization in its main content، on the one hand has special attention to human، social، and cultural capitals and on the other hand in dealing with spatial features try to create economic competitiveness، social cohesion and cultural diversity reaching to unique image of city. Therefore، addressing capacity of the creative city theory in urban regeneration field can has the new visions on the strategies and policies in this field in our country. This study explains creative city theory and describe its position in culture led urban regeneration، for this purpose، the theory of creative city and its urban strategies with descriptive-analytical research method has been studied. The results show that the theory of city creative with emphasis on culture and economic (competiveness) in physical context، sets to culture led urban regeneration direction and such a communication mechanism is presented in the form of a conceptual model.

    Keywords: Culture led urban regeneration, Creative city, Creativity, Obsolet urban areas
  • Mehran Ali Al-Hesabi, Mostafa Behzadfar, Amir Shakibamanesh Pages 64-75
    Different people have different perceptions of physical space where movement and rest occur. In this regard، perception of three-dimensional space from the point of view of stationary and moving observers can be analyzed from different perspectives including the observer''s favorable or unfavorable perception، persistency and recall capability of the perceived space، the influence of different design variables on the perception، etc. But one of the most important issues which has not attracted due attention in this area and will form the subject of the present study is that of deliberate distortions in the «perception of subjective depth and distance» of a path or space. Indeed، by using the perception of depth and distance and the deliberate distortions in the field of urban design، designers will be able to change this perception experience via informed arrangement of spatial qualities as appropriate in line with the overall design objectives. This way، they can represent a route as shorter or longer than its actual conditions in the minds of observers and users of space. In this paper، among various theoretical approaches about the human visual system function in relation to the perception of depth and distance، cue approach is discussed due to greater emphasis given to it in scientific literature published in recent years as well as its comprehensive theoretical perspective. Based on this approach، in the first part of this article، an attempt has been made to review and analyze the most significant components affecting the perception of depth and distance using a scientific approach via urban design perspective. These components can be integrated or reduced in order to directly control the relative amount of depth and distance perception in the physical space. In the second part، deliberate distortions and their application in design of physical-spatial structures of urban environment in a practical approach are discussed. Upon on the purpose of the study it is based on applied research. Due to complexity of depth and distance perception، we used the combination of exploratory and descriptive-analytical research as the methodology.
    Keywords: Urban Design, Perceptual Depth, Distance, Cue Approach, Deliberate Distortions, Practical Optical Illusions
  • Fariborz Sajadi, Mohsen Rostami, Soraya Rostami Pages 76-85
    Iranian architecture was subjected to chaos and confusion from the late Qajar and early Pahlavi era. In this period we see the simultaneous construction of buildings، each representing one of the schools of a distinct period of history. The diverse and often conflicting tendencies in architecture of this period were mostly due to the differences between the political and ideological trends of this era of history، grounded in the political current of late Qajar and early Pahlavi. These different orientation have led to the institutionalization of a new style of architecture in the Qajar period that caused Iranian architecture to blend some specific factors of its form to those of far East، and put tradition and modernity face to face that is artistically pleasant. Combining tradition and modernity in architecture begins in Qajar. Numerous trips of kings and princes to Europe are the main cause of modernization arrival to Iran. This trend became faster in the period of Nasereddin Shah and Persian art took great strides during the Qajar king. Qajar is the period of conflicting architectural values and ideas، and diversity in urban architectural trends and styles. This diversity and contrast which is influenced by various factors of different approaches to modernity and tradition، can be mostly seen in the field of residential architecture، so that، the architecture of this period has been called، housing architecture or residential architecture. From the engravings of pillars and entrances to elements such as pediments and even windows forms and volumetric adaptation form the buildings only show a part of Qajar era architecture. This mixture occurred not only in architecture but also with changes in other organs and Iranian social phenomena، which، in its own time، was considered as modernism. In this paper، In addition to defining tradition and modernity، the following questions will be answered: (1) how is the confrontation of Iranian contemporary architecture (Qajar period) with East architecture?، (2) is it possible to see any relationship between architect’s designing of architectural elements and their time of formation? To find answers to these questions، arguing settlement method / technique of cross - sectional - interpretation is used. To collect opinions (informed people in the field of Architecture) questionnaire technique is used. The results show that، in recent one hundred and fifty years، modernity، has thrown light on many aspects of Iranian society، many theoretical and political conflicts of this period، from «Islamic solidarity» to «westernization»، “Constitutionalism Movement «to» Islamic Revolution «، from» Marxism «to» Ziaeeian and Pahlavian modernity «and from» Alavi Shia «to» ideas of progress«، were all part of efforts towards transforming، modifying، or enforcement and closing modernity. Changes in Iranian architecture during the Qajar and architectural trends towards West architecture، has not occurred uniformly and homogeneously and this is not encompasses all segments of the society; It was first emerged in the palaces of kings and then nobility. Emerging a gap between rich and poor classes and a heterogeneous picture in architecture of city was natural at this stage; riches’ houses became increasingly luxurious and those of poor were in traditional and old form. This resulted in the duality and conflict in the appearance of city. It means that the impact of European architecture was firstly revealed in royal buildings، then in public buildings and finally in residential architecture. These influences are mostly in the architectural forms and not in the methods or construction. In the late Qajar period، European architecture can be seen in all sectors and buildings. Complex decoration and tore the can be notably seen in Qajar architecture، these characteristics dates back to the introversion of Qajar architecture. Much attention has been paid to interior side and this part was separated from outside by complex decoration، but it gradually changed، since on the one hand، the materials used in construction were changed and new materials were used in construction، on the other hand، at late Qajar and early Pahlavi introversion changed to extraversion. The walls became short and exterior facades were noted، the spaces became more creative and diverse، and In a word، we can say that Naserrian fence was broken. In the meantime، many buildings، constructed in the Qajar period، were affected by Western architecture. In this study، we will examine more than fifty buildings of this historical period، recommended by the professors، but due to the limitation of this paper، only two outstanding works which were accomplished in the form of questionnaires، will be mentioned. After examining some architectural samples، we will find out more about the logical relationship between passage of time and West architecture and the historical importance of building. In term of historical period، a logical relationship is seen between the passage of time and West architecture. Based on the tests conducted، the correlation value is 48%، that with regard to 0. 002 error، this is a substantial and highly significant number. In other words، the more we approach the end of the period، the more the building are under the influence of West architecture. This diversity and contrast which is influenced by various factors of different approaches to modernity and tradition، can be mostly seen in the field of residential architecture، so that، the architecture of this period has been called، housing architecture or residential architecture. In terms of historical importance of the building، the more we approach the end of the period، the relationship become more significant. Correlation value of 0. 058 and the error rate of 0. 017، show a relatively accurate and proper relation، so that we can expect that the building of the late Qajar have more historical significance than those of the early period. Likewise، in term of the significance of the contemporary building، there is also a significant relation. And again، the more we approach the end of the period، the relationship become more significant. This is quite evident according to Table 3 and 5.
    Keywords: architecture, tradition, modernity, Qajar