Showing 3 results for Hojat
Isa Hojat, Azita Balali Oskouyi, Sana Yazdani,
Volume 7, Issue 1 (spring 2019 2019)
Abstract
Paying attention to the importance of square can be seen in architecture and organization of physical space of Iranian cities in the past, before Islam and also after that in Islamic urbanization. Saheb-Abad square of Tabriz, Shah square og Qazvin and Naghsh_e_Jahan square of Isfahan are samples of past squares which present power of governments and subtlety of governmental kings that build them. Based on recent researches theories, Naghsh_e_Jahan square of Isfahan was built (at the age of first Abbas of Safavi kings, i.e. (998-1038 AH.), according to Saheb-Abad square of Tabriz which is built before Safavieh era and during Aq-Qounlou era (870-896 AH) and it was influenced by architecture of Saheb-Abad square of Tabriz and because remaining physical structure of Saheb-Abad complex of Tabriz is mainly related to buildings that were made during age of Qajar kings on the buildings of governmental complex of previous eras, acceptance of this assumption resulted in proposing renewing projects of Saheb-Abad with full imitation of now a days physical structure of Naghsh-e-Jahan which is exists now and without paying attention to original structure of Saheb-Abad and when it came to existence and when it was on its tip-top, in the past. Then in this research, based on both Saheb-Abad and Naghsh-e-Jahan research which are studied based on content analyzes historical-comparative guideline appearance, and step by step transformation, in the past. Finally, according to comparative study of mapped schema, recognize of similarities and differences of these two complex were found, both physically and functionally, in four time periods. The results indicate that there are the most common similarities in the history before the construction of the two square and the most differentials in their current state. In the course of historical evolution, two square are very similar in terms of functional and the types of uses than the physical dimensions. Also, the greatest point of physical distinction is the uncertainties of the Sahib Abad field, which has led to many changes and further decline of this collection up to the present.the complete acceptance of this assumption which Naghsh-e-Jahan of Isfahan is a similarity of Saheb Abad complexes of Tabriz, both functionally and physically, cannot be correct and it can be said that the overall structure of the Saheb Abad complex in the peak of its glory (the period of Shah Tahmasb Safavid) could have been the pattern of an urban space with various governmental-political, socio-cultural, religious, and sporting activities for the construction of the Naghsh-e-Jahan of Isfahan.
Miss Maryam Soleimani, Dr Isa Hojat, Dr Parisa Hashempour,
Volume 9, Issue 1 (5-2021)
Abstract
Complexity and conflict are some of the strategies to increase visual diversity, which is less considered today in the context of extensive construction and adherence to the universal, inclusive model. This issue has led to long-term boredom in contemporary homes. However, the factors of contradiction and complexity are seen in the visual diversity of traditional architecture. In this way, the set of opposites as a strategy for creating some visual difference is one of the essential items that can reduce architectural space's uniformity. In this regard, since the utilization of the contrasting phenomena has some different consequences in architecture space organization (from positive to destructive impact) so, it must be evaluated in a valuable physical environment where this concept of conflict is well traceable. One of the most useful settings can be considered to be a case study for assessing the utilization of the opposite phenomena, is the traditional architecture in Iran. This architecture is full of exemplars that can be useful for learning architectural design. In this research, because of the undeniable quality of traditional houses in Yazd, these houses selected as research case studies. What follows in this discussion is a qualitative assessment of the traditional homes for finding the kind of the opposite phenomena and the process application to use them. In this study, the research method is based on grounded theory, and the field information was collected in two sections: open interviews and observations. The results of this research show that Structural and visual elements of the traditional houses in Yazd consist of the positive association of conflicting elements that you can experience in different situations. The results of this study indicated that the physical and spatial structure of traditional houses in Yazd had provided conditions where one can experience a positive association of opposites in different situations. In this process, it was found that the types of opposites that can be classified into four types of sensory, perceptual, visual, and symbolic contrasts increase the best understanding of the phenomenon, respectively, balance the totality of space, increase diversity and increase the semantic load of space.
Dr Reza Kheyroddin, Mrs S. Fatemeh Hojatzadeh,
Volume 12, Issue 1 (3-2024)
Abstract
The establishment of war museums is a common thing in most countries involved in war. These countries are trying to preserve and transfer these heritages to the next generations by displaying the tools and spaces left over from the war. The main goals of these museums are to commemorate the dead and victims of war, to praise peace and to learn from the evil effects of war. The design of war museums is different according to the attitude towards war, identity and culture of each society. Therefore, one of the goals of this research is to take a new look at the concept and model of the war museum and its artifacts in Iran, considering the way of looking at the IranـIraq war (Holy Defense).
Various previous researches show that the influence of religious teachings in the society was not only effective in the formation of the identity of the people present in the war, but also in the actions and attitudes of the visitors. In this regard, an effort has been made to define the new concept of "Regional Axial Museum in Regional Scale" in the light of the potential capacities of the cultural heritage of the society on one hand and the presence of a new type of visitors to war zones (Caravans of Rahian Noor) on the other hand.
In the new definition of the AMRS (Axial Museum in Regional Scale) some concepts of original literature should be used metaphorically to represent the concepts of works and heritage of holy defense, such as excellence, the spirit of sacrifice, and reaching closeness to God, which is quite a difficult and controversial endeavor. To crystallize the idea of the AMRS, a part of the road from Ahvaz region to Arvand in the border of Persian Golf has been selected. Then, by arranging and sequencing the relevant path according to physical spatial features, as well as paying attention to war events related to different parts and nodes located on the path, the spatial values of the path should be represented and displayed for the visitors and groups of pilgrims in RahianـNoor Caravans.
The stages of representing the relics and events of the IranـIraq war era in the studied route are explained with a brief escape to the metaphors of Attar's Seven Climates of Love in different sequences to strengthen the spatial perception of Ahvaz to Arvand Axial Museum on a regional scale.The sequencing of the path related to the study of the AhvazـArvand axis brings the development of the sacred defense museums from the idea phase to the realized phase, which is more original than the conventional and formatted forms of war museums in Iran and the world. The development and completion of this regional pattern in more operational scales such as planning and urban design and architectural scale can be the stages of expansion of this pattern.
