محمد نقی زاده

The question from the mission of architecture and its relationship with human as the artist or the audience, without addressing to the reality issue and the manner of cognition is not possible. As a human phenomenon, architecture is a product of human awareness on various aspects such as scientific, engineering, and artistic aspects. Therefore, clarifying the nature and the manner of awareness, cognition and the methods and tools, can contribute to understand the art work. In continue the manner of advent and perception of wisdom in the Islamic architectural work would be analyzed. The research method is logical reasoning. Therefore, initially the Islamic worldview is posed based on the transcendental philosophy as the last and most important and major Islamic philosophy evolution, this approach is a strong system with logical method and has a strong theoretical transparency in order to understand the definition of components such as ontology, anthropology, epistemology and cosmology. After explaining principles of mental structures according to proposed Islamic worldview, the manner of emergence of the architectural work by creator of the work and how it is perceived by the audience and the work relationship with reality, based on the quad and quintet causes, ultimate and in instance, nominative, substantial, formal which have been considered in the formal position of discussion. The manner of Islamic architecture as nominative cause and the advent of thought and imagination, as the ultimate and in instance cause and actuality of the mass and the space, as substantial causes in the form of the face of place as formal cause is the purpose of this research. The manner of creation and perception of the work and the manner of presence and the advent of reality in architecture are exامینed by determining nature and the manner of emotions, perceptions and cognition. The most important result of this study is to address the main mission of architecture as the creator of the cognition factor.

Urban perception is the result of mutual transaction between human and environment and the process of perception is developed through the three continuous steps of “sensation”, “perception” and “cognition”. In the first step (sensorial perception), the environmental signals are received via sensorial sensors and each different sense based on its own essence, performance and ability has its own specific contribution to develop the process of perception of the environment and replace the concept in mind. The sensorial experience made from these environmental perceptions will lead to better understanding and recognition of urban features and qualities. Different senses play different roles to enrich the environmental experience based on their depth and quantity. This paper aims at remembering forgotten distinguished values of tactility in perception of urban space and study is conducted using analytical method with an interpretive approach. The tactile senses because of their unique features like universality and diversity and experiencing the space without any medium and understanding the time and place are not emphasized much. The present study aimed to manifest the forgotten values of tactile sense and its efficiency in urban environment.

Middle of squares, one of the components of physical aspect is considered as an appropriate indicator in designing successful urban squares, which consequently promotes visual quality. The present study aims to determine how the above mentioned aspect was presented in the Middle-Ages and Renaissance within Italian squares. Considering the aim of the investigation, library studies as well as visual documentations, with a historical-descriptive approach were applied in studying Italian community-oriented squares, Campo located in Siena, Del Campidoglio in Rome and San Marco in Venice. Results showed that, urban designers have employed some indicators, including physical aspect and its factors such as proportions, shape, surface design, materials, colors and topography in order to promote aesthetic-visual qualities, as well as human scale and unity of space to successfully design attractive middles in squares. These all, efficiently influence users’ presence, pause, movement type and trend, direction, speed and even their behavior. Accordingly, considering the mentioned aspect is of great importance in designing future squares.

Recognizing the link between “Cognition" and "Architectural Creation” indicates that there is a relation between subject and object. Correct understanding of this relationship helps artistic creativity, especially in the architecture, to take steps towards proving truth that have caused works to be continued over the past times. Knowledge and cognitions in architecture are categories that today theory of which have been neglected to be explained. Failure to comply with epistemology1, i.e. incorrect epistemology, has resulted to subjective ideas which are emerged in the framework of ideologies expressed in architecture, as a form inconsistent with national and Islamic identity. So that once more, the ideas resulting from perception of the created works, with replacement of concepts and ideas instead of principles and truth of work, tend to reject previous cognition and suggest new cognition-based theories which not only will not lead to integration in works creation but it will be one step away from reality. This process continues until now, due to lack of understanding about the origins of the crisis, the trend is adopted as an individualistic process and art knowledge is juxtaposed with artistic taste. This study is an attempt to review and recognize the role of knowledge in the past process of Islamic architecture in Iran with an analytical- interpretation approach in order to show the role of knowledge in the circle of creation and understanding of architecture as causes of inefficient contemporary theories put forward in this area, by exploring a philosophy of cognition.