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Mr. Ahmad Mirahmadi, Dr. Morteza Shajari, Mohammad Taghi Pirbabaei,
Volume 9, Issue 3 (9-2021)
Volume 9, Issue 3 (9-2021)
Abstract
Ibn Haysam deals with how the process of visual perception and its relation to aesthetics in Almanazer thesis. He sees aesthetics as result of the interaction of 22 the particular visible properties in the process of perception. In this process, the external and internal forces interfere. The role of each particular visible property in this process is not the same. Some particular visible properties such as light and color alone, some other particular visible properties in combination with each other and some by being in general proportion, create beauty. In this research, the process of perception and aesthetic views of Ibn Haytham was analyzed and its role in architecture was investigated. The Jame Mosque of Esfahan has been studied as an example for better explain the issue and investigate the results. This mosque includes architectural thoughts and aesthetic approaches of different historical periods with a history of more than a thousand years. This research is of qualitative type and with descriptive-analytical method. For this purpose, first the information obtained from library studies and documentary sources is examined and with a comparative approach deals with evaluation and aesthetics analysis from Ibn Haytham's perspective in architecture .
Ibn Haysam separates sensation and perception in aesthetics analysis and he believes eyesight receives the form of visible objects, and perception is not always made by premium sensation. in addition to premium sensation, but also inference may be necessary for perception, the sense of sight is unable for it . Ibn Haysam defines three perceptual levels, according to how and type of perception, effective forces and Perceptible the particular visible properties: 1- Perception by Pure Sensation is perception premium through visual senses. the two properties of light and color, which expressing the form of objects and are inherent in objects, are perceived in perception by pure sensation. 2- Perception by Recognition deals with similarity or difference between the particular visible properties after receiving the form of objects with the visual senses. This similarity and difference cause perception of their intensity and weakness in light and color which is done with denotative. the situation, size and movement create based on the comparison between the components of an object or object with another object in the perception by properties like the shape. Also, in some cases, all the particular visible properties are perceived, which is done through denotative and comparison. Perception by recognition is done in light of the former knowledge and the use of patterns and symbols that they used to store in memory and the intervention of mind. 3- Perception by Inference is at a higher level than perception by recognition and in addition to the denotative and necessary comparison in perception by recognition, according to said Ibn Haysam, a higher comparison the second comparison (comparison with contemplation) is needed and by using judgement and inference, all abstract concepts and meanings that it existed in the particular visible properties of objects are perceived. According to the speed of mind performance and former audience's knowledge of phenomena, Ibn Haysam divides the perception into two groups "Glancing vision" and "Contemplation vision" and the two types of perception mentions for each group. In addition to analyzing Ibn Haytham's aesthetic views, this study investigates its application in architecture. The awareness of architects with the process of perception creates different perceptual levels for the audience and it cause his more interaction with the structure. On the other hand, effective the particular visible properties in aesthetics are generalizable in architecture and it helps the methodical analysis of visual perception.
Ibn Haysam separates sensation and perception in aesthetics analysis and he believes eyesight receives the form of visible objects, and perception is not always made by premium sensation. in addition to premium sensation, but also inference may be necessary for perception, the sense of sight is unable for it . Ibn Haysam defines three perceptual levels, according to how and type of perception, effective forces and Perceptible the particular visible properties: 1- Perception by Pure Sensation is perception premium through visual senses. the two properties of light and color, which expressing the form of objects and are inherent in objects, are perceived in perception by pure sensation. 2- Perception by Recognition deals with similarity or difference between the particular visible properties after receiving the form of objects with the visual senses. This similarity and difference cause perception of their intensity and weakness in light and color which is done with denotative. the situation, size and movement create based on the comparison between the components of an object or object with another object in the perception by properties like the shape. Also, in some cases, all the particular visible properties are perceived, which is done through denotative and comparison. Perception by recognition is done in light of the former knowledge and the use of patterns and symbols that they used to store in memory and the intervention of mind. 3- Perception by Inference is at a higher level than perception by recognition and in addition to the denotative and necessary comparison in perception by recognition, according to said Ibn Haysam, a higher comparison the second comparison (comparison with contemplation) is needed and by using judgement and inference, all abstract concepts and meanings that it existed in the particular visible properties of objects are perceived. According to the speed of mind performance and former audience's knowledge of phenomena, Ibn Haysam divides the perception into two groups "Glancing vision" and "Contemplation vision" and the two types of perception mentions for each group. In addition to analyzing Ibn Haytham's aesthetic views, this study investigates its application in architecture. The awareness of architects with the process of perception creates different perceptual levels for the audience and it cause his more interaction with the structure. On the other hand, effective the particular visible properties in aesthetics are generalizable in architecture and it helps the methodical analysis of visual perception.
Dr. Mohammad Taghi Pirbabaei, Dr. Leila Medghalchi, Mr. Ahmad Mirahmadi,
Volume 11, Issue 3 (9-2023)
Volume 11, Issue 3 (9-2023)
Abstract
Geometry is one of the important characteristics of architectural space, human is connected with architectural space and affects its creation. The field of architecture expresses a cultural category in which geometry is the tool for shaping space. The formation of architectural space is influenced by culture. The geometry of space is in a cultural framework and in the interaction between different dimensions and levels of space.
The method of this research is descriptive-analytical. The general strategy of the research is retroduction and the purpose of the research is the cultural explanation of the geometry of space in architecture. This strategy is dedicated to the process of building hypothetical models that reveal real structures and mechanisms and is characteristic of the realism approach.
With the approach of critical realism, in which it is possible to explain the phenomena in a general format and they can be investigated in a layered and comprehensive manner, the geometry of space based on culture is explained in architecture. In this approach, the reality of the phenomena can be examined in three levels: Empirical, Actual and Real. The real layer is at the last layer and is the causes and mechanisms of production of visible and invisible events that imply cultural affairs. Cultural geometry is not an absolutely real phenomenon or a completely represented relative one. In the analysis of the geometry of the space according to critical realism, three levels of geometry in the architectural space were identified: first; Formal-Physical that can be observed and measured based on logical and mathematical principles and rules, second; Perceptual-Behavioral that actually exists in the architectural space and causes environmental capabilities, but is not necessarily visible in an outward and explicit way, third; Constructional-Conceptual that deals with the mechanisms of the formation of architectural space by relying on anthropological, sociological issues and a more comprehensive expression of cultural issues. These levels have different characteristics and although they can be examined independently, they are connected and influence each other in the architectural space.
Human creates architectural spaces based on social needs and necessities. In the creation of architectural space, geometry is validated and built, and as a result, geometry changes from a mental position to an objective position by receiving certain mechanisms and mechanisms, and the cultural geometry of the space is formed. At the constructional-conceptual level, space includes spatial meaning, spatial interpretation and perception, and under the influence of effective layers at this level, which are made of cultural factors, environmental factors, and economic factors, it creates events and capabilities in the architectural space, which in Communication with humans can be analyzed at the perceptual-behavioral level. The architectural space is produced on a formal-physical level and can be observed and examined using the senses and experience. The cultural geometry of space, due to its creditable and constructed nature, is updated with changes and developments in temporal- local conditions and the creation of new needs, which can be achieved by identifying concepts and receiving them, to reach newer and more original layers of reality. This complex and continuous system is changing and multiplying in all aspects of human life. With human actions in the architectural space, new needs and developments arise in which cultural and social relations are produced and reproduced, and finally, the cultural geometry of the space is associated with change and updating.
The method of this research is descriptive-analytical. The general strategy of the research is retroduction and the purpose of the research is the cultural explanation of the geometry of space in architecture. This strategy is dedicated to the process of building hypothetical models that reveal real structures and mechanisms and is characteristic of the realism approach.
With the approach of critical realism, in which it is possible to explain the phenomena in a general format and they can be investigated in a layered and comprehensive manner, the geometry of space based on culture is explained in architecture. In this approach, the reality of the phenomena can be examined in three levels: Empirical, Actual and Real. The real layer is at the last layer and is the causes and mechanisms of production of visible and invisible events that imply cultural affairs. Cultural geometry is not an absolutely real phenomenon or a completely represented relative one. In the analysis of the geometry of the space according to critical realism, three levels of geometry in the architectural space were identified: first; Formal-Physical that can be observed and measured based on logical and mathematical principles and rules, second; Perceptual-Behavioral that actually exists in the architectural space and causes environmental capabilities, but is not necessarily visible in an outward and explicit way, third; Constructional-Conceptual that deals with the mechanisms of the formation of architectural space by relying on anthropological, sociological issues and a more comprehensive expression of cultural issues. These levels have different characteristics and although they can be examined independently, they are connected and influence each other in the architectural space.
Human creates architectural spaces based on social needs and necessities. In the creation of architectural space, geometry is validated and built, and as a result, geometry changes from a mental position to an objective position by receiving certain mechanisms and mechanisms, and the cultural geometry of the space is formed. At the constructional-conceptual level, space includes spatial meaning, spatial interpretation and perception, and under the influence of effective layers at this level, which are made of cultural factors, environmental factors, and economic factors, it creates events and capabilities in the architectural space, which in Communication with humans can be analyzed at the perceptual-behavioral level. The architectural space is produced on a formal-physical level and can be observed and examined using the senses and experience. The cultural geometry of space, due to its creditable and constructed nature, is updated with changes and developments in temporal- local conditions and the creation of new needs, which can be achieved by identifying concepts and receiving them, to reach newer and more original layers of reality. This complex and continuous system is changing and multiplying in all aspects of human life. With human actions in the architectural space, new needs and developments arise in which cultural and social relations are produced and reproduced, and finally, the cultural geometry of the space is associated with change and updating.
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