سید مصطفی مختاباد امریی

In new issues of durable architecture, it is tried to decrease negative effects of new architecture on environment. What is perfectly obvious is making the elements homogenous to their climatic function which was the art of our antecedents. Implementing the windward construction technique, our antecedents have well used the raw and uncontrolled flows of wind. They handled the wind and made it mild, remove the dust and created mild air-conditioning which represents the past environmental stability of Iranian architecture. Using the windward had been conventional in Iran since many years ago. Without any dependence on any kind of energy and without exploiting establishment appliances, it provides the coldness of residential places. This is the same issue on creating stability in environments where humans live in. In this research, the capabilities and limitations to use windward in salt desert's cities of Iran during today's age in were assessed to achieve some criteria quantitatively and qualitatively to enhance the windward and to provide the necessary ground for more efficient use of it. This research is of descriptive- analytical kind. Statistical population of this research includes university professors and architecture authorities in Iran. 30 persons of them were questioned directly. After survey data collection through the questionnaire, the relationships between research variables were tested by implementing swot technique. The obtained results suggest a windward in order to solve the weaknesses of previous air traps parallel to today's need. It indicates that giving the efficiency again to the windward’s by creating some changes in it proportional to today's need of users and in order to enhance its efficiency, provides the conditions to achieve some parts of a sustainable architecture.

Regionalism is an analytical and critical perspective which focuses on preserving special features of place and attempts to fill the vacuum in architecture. Globalization is a complex multi-stage process that causes increasing complexity of time and place, greater awareness across the global and acceleration of cross cultural interactions. Therefore, the present paper attempts to analyze global-regional interactional approach through investigating contemporary Iranian architecture in relationship with the aforementioned phenomena and also tries to provide practical advice on establishing a constructive interaction. The research methodology is based on content analysis and case study. The results obtained from investigating striking cases of 4 eras of contemporary Iranian architecture and presented as a table of global-regional interaction components (physical, semantic and ecological) show that an interactional approach is becoming increasingly popular and global-regional coexistence is being formed in contemporary Iranian architecture, which associates with spirit of time and its regional components. A dynamic presence and playing a componential role by contemporary Iranian architects in this interaction have some prerequisites: an understanding of contemporary pluralism, an understanding of the other and establishing interaction, emphasis on the role of thought, creation and innovation, objective research, a good understanding of identity and place, past recall and identifying components of Iranian architecture.

The main sources of all natural light are the sun, the moon and the stars. In other words, the principle source of illumination is the light as mediated by atmosphere. According to some philosophers, spiritual or holy light includes not only material and quantified aspect, but being non-physical properties it treats as a spiritual connector between god and man. The light is the main part of existence which not only contacts to the surface of objects, but also helps them form. In other words, light is the key of finding space fundamental in making holy places meaningful. The present paper tries to make a comparative analysis of lighting in some of the most famous sacred buildings around the world. As such, the methodology preferred in this piece of research is descriptive, analytic and comparative.

Islamic and Iranian cities, both, East and West, know the physical monuments of Islamic culture1 based on one of the features of the Islamic cities. Meanwhile, other religious centers, including Tkaya, Hosseiniyehiyeh and hospice is not the case to considerate, while these elements cause to shape group behavior, strengthen social ties and strengthening of cultural integration, have always played a major role. These reasons reflect the role of the religious and their religious mission to, Imam Hussein: have been lasting and eternal ever. On the other hand, religious buildings, including mosques, Hosseiniyehiyeh, the convent, the grave and so for various reasons such as “governing their spirituality,” “Historical Background”,“architectural style” and “cultural works - social among people of the past had been of special aspects “sanctity”. Materials and Methods, “descriptors” and “analytic” in addition, with reference to theories and models of sustainability and sustainable urban spaces using “argument” and “analog” to review these theories and extend them to Hosseiniyehiyeh and Tkaya discussed and some results in this direction are mentioned. Research findings show the survival of Tkaya and Hosseiniyehiyeh beliefs, beliefs, customs and religion of citizens, especially their integration with the components is related to religious values and reflecting the traditional city is based on the formation of beliefs is that survival, Protection and maintenance Hosseiniyehiyeh paid actor and in which viewers of this show and passionate Hosseiniyehi mourning single entity to have formed; If due to the impact of beliefs and opinions of people throughout history has been a Hosseiniyehiyeh as a phenomenon of religious values and that its inclusion has been persistent throughout history and reflect the beliefs of religious people and the world towards Imam Ali, Imam Hussein: future date will remain the eternal.

By its academic-aristocratic approach at the beginning, and the mere artistic vision of art afterwards, Beaux Arts had become the cottage of hopes and dreams for art-lovers and artists from Iran and all around the world. Accordingly, Iran, like many other countries, has had consecutive associations and interactions with these schools, especially beaux-arts school, in qualitative and quantitative dimensions “Beaux-arts” school has had an extraordinary expanded character among classical educational schools in Italy and Germany and has played a positive and rooted role on art education world. What was going on continuously in E’cole for many years was nothing but a stone sinking in a pond, whose inevitable waves’ beams affected the whole pond. Art Education was the pond, Beaux Arts the stone. E’cole de Beaux-Arts set up the starting point of many artistic, educational and political events in the domain of art education. So, may we assume Beaux-Arts as the starting point and the godfather of most of Iranian art education systems? Exامینing this subject in the context of art education history can be done through various methods. Historical periods, geopolitical entities, nationalism, international network of effects, and subjects orthemes each can have a framework or composition for forming the international history of art education. This article sets to express France’s E’cole de Beaux-Arts Education historically, and tries to assess the deep qualitative and quantitative influences of the E’cole on Iran’s Art educational system, especially on architecture education, by gathering information through well-known artists and graduates of Beaux-Arts.

Because of the dispersion of activities in big cities, employing highways as the most important connecting way is indispensable. In today world, highways are connection arteries of cities transporting people to their social activities. Because of continual use of highway, their walls prepare a context for conveying many Social, Cultural, Economic, etc concepts. That is why most economic promotions,communication of social concepts and cultural teachings are provided on highways walls and margins.In few recent years, given the same potential, highway walls has created a site for appearance of street art. Street art is demonstration of author’s personal signs on the walls and public places of the city and public audience decode the concepts embeded in the text of that art. Currently Tehran municipality, in a general policy, tried to spread and pay attention to street art particularly in the highways contexts. In this paper, we classify these designs on Tehran highway walls while indicating present examples and interpret the concepts lying in these designs from a semiotic view point.