International Journal of

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Considering the problems facing contemporary architecture in Iran, a better understanding of the meaning of architecture has become necessary. Architecture, like language, defines and facilitates the relationship between Man and his environment. The word architecture both in Arabic (Amara) and in Latin (Architecture), attempts to define the attributes of the maker before determining the characteristics of the product - a fact that points towards a more profound understanding. Thus, it is becoming increasingly important for researchers to define the process of formation (the how of architecture) more than the specific attributes of built form (the what of architecture). In this way, creativity and the different processes by which it is achieved, would gain a higher significance in architectural circles. Using an Endogenous Development model, this article seeks to offer an alternative approach towards architectural design. Accepting the hierarchy in causal relationships and expanding on the concept of elevating hidden meaning up onto the surfaces of expression, this article proposes a model of thought in which design consists of a process starting at the depth of ideas and common beliefs, moving up to the individuals' images and finally arriving at rational and general concepts. It is then argued that this process provides spaces in which it is possible to experience a sense of belonging to place, and even further, it allows users to abandon material belongings to arrive at feelings that occur in sacred places. This article offers the author's own particular teaching as one expression of this model of thought, whereby students start by working with mud and then gradually leave their childhood status to reach full maturity in design. Through this process, they obtain an ability to overcome technical and rational challenges in their projects, moving from "intuition" towards "wisdom", "knowledge" and finally "science" in the material world.

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Technology has had many influences on the Iranian society in different eras. Today, information and telecommunication technologies have revolutionized the basic structures of society and a new network society has been propagated inside the traditional and semi-modern context. In countries like Iran, which are in the process of modernization, a chaos deriving from the transition period is observed that leads to a certain peculiarity. In this transition era the norms of traditional societies, which offer discipline for these societies, have been eliminated in favor of new norms that are not codified yet. The transformation to the new situation and also the confrontation with the electronic world has instigated many disorders and anomalies in the society, with its physical expression becoming visible in contemporary architecture. Today, Iranian architecture is affected by Kitsch Art and has become superficial. Using attractive visual capsules and exploiting the human habit of imitation, information viruses have spread everywhere and have changed the physical world dramatically. The propagation of networks has made this process even faster. This paper reviews the confrontation of Iranian architecture with the electronic realm and investigates the role of visual viruses in the formation of the physical fabric of Tehran. It is argued that in the future, emphasis on design supported by collective intelligence [1] and individual creativity can decrease physical anomalies in the built environment.

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When thinking about traditional Iranian architecture, one imagines extensive ornamental patterns that adorn almost every surface of mosques and other prominent buildings. Yet, many theories of architecture since the beginning of twentieth century have considered ornamentation a superficial and superfluous layer. But, are these ornamental surfaces superficial and can they be removed so easily? This paper uses a qualitative research methodology based on theoretical cross examination and critical analysis to highlight the significance of surface and appearances in architecture and argue that formulating a strategy to adorn architecture is in fact the generating gene of every architectural movement, from Modernism to Postmodernism and even to Parametricism of recent times. By setting up a philosophical and a theoretical discourse about the notion of surface and the various metaphors used in architectural theory, this paper concludes that from the woven walls of first architectural spaces to the clothed walls of modern times, surfaces have played a sacred role in architecture, and rather than being superficial barriers that mask reality, they are indeed the very materials with which architects demarcate space and create new aesthetics.

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Architecture, akin to other forms of art, often transcends mere functional considerations, striving to re-present reality in a manner that engages the senses and shapes the human psyche. The Iranian Garden, also known as the Persian Garden, holds a distinctive status in Iranian spatial and environmental design. Its meticulously balanced and structured amalgamation of natural and man-made elements has transformed the Iranian Garden into a global phenomenon, offering a uniquely nuanced portrayal of the world. This investigation delves into three specific Iranian gardens, aiming to elucidate how reality is re-presented within Iranian garden design to attain a transcendent experience. Utilizing a qualitative and interpretive analysis of contemporary theories addressing issues related to image and reality, this paper initially introduces three categories for representing reality—intensification, integration, and transformation—alongside two realms of experience: the corporeal and the mental. These modes of depicting and experiencing reality are subsequently explored within the context of three renowned Iranian gardens—Dolatabad Garden of Yazd, Fin Garden of Kashan, and Shazdeh Mahan Garden of Kerman. This examination serves to illustrate the diverse design solutions employed to re-present familiar reality to observers. The evaluation of these gardens involved on-site visits, personal immersion in the garden environments, and a reliance on existing documentation and theories regarding these spaces. The findings of this study reveal a sophisticated and adept utilization of architectural and spatial components in garden design. Through varied approaches to re-presenting familiar reality, these gardens craft an aesthetic experience that stimulates the senses and elevates both the intellect and the spirit. Such interpretations of the traditional Iranian Garden offer valuable insights for designers seeking to emulate the spatial qualities without resorting to the replication of familiar motifs and forms. It is anticipated that a deeper comprehension of how the Iranian Garden re-presents the familiar will guide future endeavors to adapt it for contemporary times, steering clear of deviations that might compromise its essential nature.