Journal of Researches in Islamic Architecture

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Human’s perception and cognition of city form based on his mutual interaction with the environment. The knowledge of urban design, which is aimed at creating a good environment for humans, tries to identify ways of deepening the relationship. It has mostly utilized the achievements of environmental psychology, but the notion of perception, as an epistemological issue, has its conceptual roots in other cognitive domains such as philosophy. Philosophy can be considered the origin of conceptualization of perception while this notion has suffered from the inattention of urban designers. The present research aimed to make maximum use of the viewpoints of Iranian philosophers on the notion of perception to identify productive achievements of philosophical opinions in this regard, including those that are applicable to urbanknowledge. It tried to attain this goal by drawing comparative analysis between philosophical achievements and those of environmental psychology. In this study, the notion of perception was explored and investigated based on content (including issues based on the content of perception) and procedure (including issues based on its procedural structure and its design in urban design) in the following two cognitive fields: philosophy and environmental psychology. The effectiveness of the use of philosophers referred to in each section was assessed as well. The present manuscript adopts an interpretive (non-positivistic) approach and uses the logical reasoning method to perform a comparative assessment of the viewpoints of two areas of knowledge. Research findings were tested using the Delphi method (theoretical saturation) and the principle of research. This study aimed to answer the following questions: How are the thoughts of Iranian philosophers effective for perception as compared to environmental psychology? How can the opinions of Iranian philosophers be used for explaining the nature of structure of the perception process and its application to urban design? Among Iranian philosophers of Islamic eras, the theories of the following famous philosophers have had the most contribution to the growth of philosophical movements in Iran: Avicenna, Sohrevardi and Mullasadra. Research findings revealed that application of the thoughts of Iranian philosophers is useful for clarification of the nature of perception and its contents as well as refinement of the structure of perception and its phases. The process of perception has the following levels with respect to philosophy: sensory perception, imaginary perception, illusive perception and rational perception. Each of these phases is differentiated from other levels using a constructive factor. Each phase also has a specific function and product. The most important issues derived from the opinions of philosophers are presented in the following table. The research adopted an interpretive approach (instead of a positivist approach) to the analysis of contents of texts. It also studied the viewpoints of the aforementioned two cognitive Results of comparison and integration of the two theoretical areas showed that environmental perception is a “subjective and objective process [12]”, which results from the interactive (mutual) relationship between the human and environment. This process has a dynamic and progressive nature. It depends on human’s constant growth and his mental construct. During the perception process, the mental image resulting from the influence of the environment is re-created to demonstrate the true essence of the environment. The perception process is composed of distinctive steps and various functions which are classified in the following three groups: reception and selection (emotional perception) organization and preservation (imaginary perception) and interpretation and signification (rational perception). In addition, numerous factors (human and environmental) influence the process and mechanism of perception in the form of stable dynamic factors.

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The process of aesthetic experience and models designed in relation to this process are amongst the important discussions in the field of teaching aesthetic experience. Many models are designed on the basis of philosophical theories and observing audience behavior and they are founded in the path of intellectual and theoretical enhancement of the audience. Meanwhile, although Islamic philosophers have not clearly addressed the perception of aesthetics and aesthetic experience, however, among their discussions and theoretical perceptions, fundamentals of aesthetics perception can be found. Mulla Sadra is among those philosophers that somewhat discusses this matter in his belief system. The fundamental question is that: According to Mulla Sadra’s intellectual principles and ideology such as levels of perception, substantial motion, mental mode of existence, love and beauty, and the identity of the knower and the known, can we reach an explanation for a model that is in line with aesthetics experience? The purpose of this study is to investigate the process of aesthetics experience and understanding a work of art in the viewpoint of experts in this arena and also to achieve an aesthetics experience model that is derived from Mulla Sadra’s ideology. For this matter, at first, using the inferential analysis method, this study analyzes the different components of aesthetics models and by benefiting from Mulla Sadra’s principles, the aesthetics experience process and its elements such as emotional perception, attention and knowledge, repetitive observance, remembrance and contemplation, imagination and recreation, and identity, are deducted and are compared with other models. In some cases such as repetitive observance, remembrance and contemplation, the model has similar aspects with other models, however, in some cases such as imagination and recreation it has differences.

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Understanding the human perception levels and their process, and his interaction with the existence is an important topic in the field of architecture. In the contemporary era, the architecture pundits have shown more interest in the degrees of human perception and its role in the quality of creation of architectural works process and have criticized the modern perspective of sensory perception level and focusing on the sense of sight, and raised the necessity of considering all the human perception levels.
Nowadays, the human perception of the universe and its impact on architecture and urban development in the form of a category such as «human and environment relationship» is studied from the perspective of psychology and by environmental psychologists. But they have not a distinct philosophical perspective and clear theoretical basis to define the mankind, his perceptual levels and its dimensions and environment and how it has an impact on humans; and the absence of this attitude has damaged the field of environmental design, like architecture and urban development. Therefore, to achieve accurate results we must set up comprehensive principles as a basis.
Therefore, the approach of the present study is different from the common research in this area and based on the principles of Transcendental Wisdom as its theoretical foundation, we explain the relationship between the human perception levels of the universe and the quality of creating architecture works and its impacts.
The reason for the choice of Transcendental Wisdom as the theoretical research foundation wisdom is that the theoretical basis of the author for research has always been the “maximum religion” theory and among famous philosophical schools, the philosophical school of Mulla Sadra a.k.a. Transcendental Wisdom is close to “maximum religion” theory. Because, as in this theory to gain knowledge we use three tools of Holy Quran, tradition, and reason and instincts in a longitudinal relationship, in Transcendental Wisdom we gain knowledge based on illumination or intellectual intuition, (revelation, fascination or illumination) intellectual argument or reasoning (wisdom or reasoning) and religion or oracle (religious or oracle).
Therefore, we set up our theoretical foundation based on Transcendental Wisdomand to do this research in the first stage, we use the descriptive-analytical method to define mankind, his perception levels and perceptual powers, and the process of realization of any of the levels based
on the principles of transcendental philosophy; and next, we use logical reasoning and deduction to
express the correspondences between human perception levels and the universe and with the help of
models we use the degrees and levels of human perception regarding the universe, and accordingly we
explain the impact of human perception levels and the level of his interaction with the existence on the
formation of the quality of architectural works.
Based on the research and its results, it can be said that humans have four levels of perception (sensory,
mental, imaginary, and intuitional) corresponding to the realms of existence. The apparent powers
(sight, hearing, smell, taste, touch) and inward powers (common sense, imagination, illusion, memory,
MOTESAREFEH) help him to realize his perception. studies show that the human perception creates
a treasury of meaning and form in the human ego and this treasury is the most important source of
shaping ideas for the artist human. Because the architect human by using his MOTESAREFEH power
and referring to the meaning and form treasury in his ego proceeds to create and thus, the content quality
of this treasury influences the quality of creation of architectural works.
It should be noted that on the basis of past studies, the human perception levels and his ability to
interact with the levels of existence is affected by the level of existence of the artist human. In fact, it
is his interact level with the existence that forms his form and meaning treasury and sets the stage for
the quality of art and architecture works. Also, based on the perspective of transcendental philosophy,
other factors that affect the quality of architectural works consist of intrinsic talents and acquired skills
in humans.
 

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The knowledge of environmental design process describes and explains the fundations of self-conscious design of the man-made environment and is always rooted in polemical theories. Hence, theoretical foundations play a pivotal role with a strong and generalizable support in design, in order to be able to recognize the borders required in the creation process. The purpose of this research is to present an applied model of the design process taking into account the ontological approach in Islamic philosophy. The methodology of this paper is comparative and argumentative. In this regard, a series of similar and equal orders in the basics of Islamic ontology (perceptions and types of essence of perception and essence levels) and phenomenology, in proportion to the process of creating and visualizing an artistic product, in order to establish a functional model in The architecture design process is compared and explained. The research approach is a five-dimensional model of "Tarif, Tabiin, Tasvir, Tadvin and Talif" in the process of architectural design in accordance with the varieties of substance and human perception. In the Tarif step, in accordance with the design theme, the principles and aspirations of the architect designer are determined by the various life-worlds, and can be received. In this step, the designer, with intellectual freedom and in various ways, expresses his conceptual and idealistic concepts of his hypothetical architecture. The second step is the Tabiin of the relative state and is interpreted and adjusted in time and field. The Tabiin step, in addition to identifying the project's nature, leads to analyze and the establishment of various diagrams of spatial relationships, functional, physical planning, and so on. In the third step, Tasvir, imagery and the role of creativity are significant and the layout of the project is created. The Tadvin step in the design process means arranging and arranging components and evaluations after the creation of the form. At this stage, the form is arranged in relation to the creation of space, and the focus is removed from the mass of architecture and the relation between mass and space is transmitted. At the step of Talif, the architectural work is of soul and life and as a living phenomenon with a distinct identity in conjunction with other phenomena in the system of the universe. The use of this proposed model in the design process, due to the experimental nature as well as the content connectivity with the principles of Islamic ontology, paves the way for a tangible understanding of the complex design path and, on the other hand, gives rise to freedom of action for designers and architects.

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If one looks with the eye of discernment upon the extremely varied manifestations of Islamic art over vast expanses of space and time, the question arises as to the source of the unifying principles of this art. What is the origin of this art and the nature of this unifying principle whose dazzling effect can hardly be denied? The question of the origin of Islamic art and the nature of the forces and principles which brought this art into being must therefore be related to the world view of Islam itself, to the Islamic revelation, one of whose radiations is directly the sacred art of Islam and indirectly the whole of Islamic art.
there is an inner nexus between Islamic architecture and Islamic cosmology and angelology. The Islamic cosmos is based on the emphasis upon God as the Unique Origin of all beings, on the hierarchy of existence which relies upon the One and is ordered by His Command, on the levels of existence which relate matter to the subtle world, the subtle world to the angelic, the angelic to the archangelic, the archangelic to the Spirit or al-ruh and the Spirit to God's primordial creative act. This cosmos is based on order and harmony which is more than the result of the direct manifestation of the One in the many.
By examining the past works of architecture and urbanization, we can see the traces of the manifestation of the imaginary universe in the artwork. One of the examples for these works are Safavid dynasty monuments, such as Imam's mosque in Isfahan, which is an example of the application and expression of the other world in architecture.
Iranian-Islamic culture and knowledge are a rich treasure of the principles and Criterions in all social, economic, cultural and other fields of life. By Looking at Islamic history and civilization, we can always find the reflection of religious and cultural ideas in all aspects of life, including architecture and urbanization. However, one of the issues that is less contemplated in contemporary urbanism, which has led to an identity crisis in the present era, is to provide an opportunity to combine the art of designing urban spaces with Islamic spirituality and art. this kind of art can illustrate the example of the other world by revealing the signs of world of imagination on earth and always point out the beliefs of the people. Hence, the present study aims to derive the applied principles from among these theories. at first we have discussed and categorized theories related to the subject of perception, the imaginary world and the imagination. these theories have been brought up from the point of view of the Islamic Philosophers and Theorists. then it has been examined how these principles are applied in the Iranian-Islamic urban design. The present paper has a qualitative approach and the research is based on "interpretiveism" paradigm. The research method is "analytical-comparative" and it tries to transform fundamental ideas into applied theories. In this regard, in order to clarify the subject, the Qibla Square of Mashhad has also been selected as a case study and finally, a design framework has been developed. The research results show that the universe of imagination and its manifestations have always been considered in the views of great Philosophers; and its appearance in urban spaces can be expressed as different kind of elements, which most notably are light and geometry. For this purpose, one of the most important principles in the world of imagination is "duality", which is based on the four principles of "light and darkness", "inside and outside", "motion and motionless" and "symmetry and asymmetry". These principles are presented in a comparative manner with urban qualities in the form of "hierarchy, unity while plurality, emphasis, contrast, parity, balance, proportions, integrity, and inclusiveness, etc", as well as the solutions below each.

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Mosques have been the oldest, most important and uncompetitive religious element of Iranian cities. Unfortunately, mosque formation patterns and principles and symbolic perception, have been forgotten recently, especially at neighborhood mosques level. recovery of Iranian-Islamic architectural and urbanization identity is main responsibility of architects and urban planners, and this is the main object of current research. We will look forward achieving these goals by field survey and local condition analysis of cultural, social and even economical needs of social classes of these locals. Also, considering determined goal, research looks for its answer, can be   stated as following: whether value systems of different social classes of local habitants influences belonging sense among these neighborhood mosques. In the current research, the influence of sensory perception models have been investigated on the sense of belonging to place at Qazvin city by survey method. And also after specifying models and components of sensory perception, evaluating criteria effective on increasing belonging sense to mosque, extracted, then questionnaire prepared based on Likert spectrum by Structural Equation Modeling (SEM), which it analyzed the relations among variables and their impact amount on Haft-Darb mosque as an old texture and Javad Al-aemah as a new texture. research findings, shows a meaningful relationship among the components of sensory perception and the sense of belonging to place at neighborhood mosques, which in it the impact of cultural indicators and social system in the neighborhood is more than other indicators. Also regarding sensory patterns in designing mosques forming elements, promotes satisfaction sense which this leads to creating and strengthening of adaptive sensory architectural patterns in religious places. As a result, it is suggested to pay special attention to residents complementary role at mosques designing, because this matter cause more adaptability about neighborhood mosques architectural patterns. Also, recreating the sensory patterns of Iranian-Islamic architecture of mosques undoubtedly plays a vital and significant role in developing and deepening religious values, cultural, social and economic relations and also increases the motivation of worshipers to continue attending neighborhood mosques.

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Perceived time can have a significant impact on vital responses to daily activities and behaviors. Studies have shown that the surrounding environment can also affect human perception from time, place or event. The purpose of this study is to investigate the interrelationship between the environment and, more specifically, the architecture and the time perception of individuals. Also, the study of the genders effect, which has been reported in many studies as one of the parameters that affected from the environment and also influencing factors in time perception, has been studied. The research method is causal-comparative. One hundred participants, from available students of different faculties of the Tabriz Islamic Art University, participated in two separate computer experiments. Visual stimuli were architectural images selected with two independent factors of complexity in two levels and the background familiarity of the participants with two levels. Two standard time reproduction tests with a millisecond interval and a time production test of one hundred and twenty seconds simultaneously were utilized in prospective time estimation approach with four visual stimuli. The results analyzed by repeated measures of multivariate analysis and successive LSD test of main effect size. The findings show that individuals judge complicated images significantly longer than simple images. In addition, between factors analysis on the effect of simple and complex images between two sex groups, showed a significant difference. The results obtained in the field of time production and reproduction compared and interpreted with the internal clock, attentional gate and neural coding efficiency theories. Correspondences of findings were more with Eagleman›s neural coding efficiency model in respect of effect of complexity factor on time perception. While the findings on the between factor effect of the gender on the perceived duration, are more consistent with internal clock model. In the end, this study showed and emphasized the necessity to repeat this kind of interdisciplinary studies with more ecological approaches and stimuli closer to real environments to achieve more accurate theoretical framework and findings that are more practical






 

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