Showing 3 results for Substantial Motion
Farhang Mozafar, Rasool Vatandoust, Nader Shayeganfar, Zohreh Tabatabaei,
Volume 2, Issue 2 (9-2014)
Abstract
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.
Hasan Bolkhari Ghehi, Jana Arabzadeh, Seyed Majid Mofidi Shemirani, Iraj Etesam, Azadeh Shahcheraghi,
Volume 12, Issue 1 (3-2024)
Abstract
Problom Statement: Nature is Human's first existence and home. Essence and accident are the aspect of Mollasadra Trans-substantial Motion theory, which defines the rythem of motion, from form to meaning to substance utility and welfare. Seems that the mentioned subject is in contradiction with today sientific world rather that their goal is the same. Biophilic design tries to create a living condition with nature in human living environment. A realization of Alive Architecture according to Mollasadra Trans-substantial theory creates possibility to increase quality of life.
Question and research objective: The aim of this research is to achieve the Alive Architecture purpose to increase quality of life and notify spirituality in Architecture to calm soul. To reach the mentioned aim, the research defines an appropriate answer to the relation of Mollasadra Trans-substantial Motion theory with Biophilic Architecture.
Research Methodology: The research was based on a Qualitative method ( Grounded theory) with data analysis strategy, systematic coding of Strauss and Corbin with the help of MaxQDA software. the nature of the data in this research is Textual, semantic an unstructured derived from deep interviews which have been analyzed with inductive logic by interpretive analysis.
Conclusion: The research findings proves that, essence transformaton is in each being of existence, and Biophilic Architecture reminds Aliveness of existence by essence transformation through considering alive elements. The purposes such as: Perfection, Progressive, Re:union: of Soul and body, Timeless concept, are in human and existence elements. The possibility of having essence transformation in a meaningful architecture via considering more aimed purposes in terms of communication, New thinking and seeking reality, would have result in Beauty creation and Living Architecture.
Mona Motevali Haghighi, Mohammad Khosro Sahaf, Tahere Kamalzadeh,
Volume 12, Issue 2 (6-2024)
Abstract
how to achieve the perception of the architectural space,especially the subject of the current research,namely,Allahverdi Khan portico,considering the Mulla Sadra’s theory of substantial motion and provide a new interpretation of these perceptions?The main goal of the current research is to investigate the steps of Space perception in the Allahverdi Khan portico,with looking at the concept of the Mulla Sadra’s theory of substantial motion.The current research is qualitative, analytical-descriptive,and the research strategy is a case study with an interpretive approach. The results of the studies have shown that the human encounter from the entrance to its center is based on the perspective of spatial experience,which has led to the improvement of the sensory perceptions and spatial experience of the pilgrims from the portico and its spaciousness.While it provides a platform for the discovery and inner intuition of the observer,it will be guided to the most complete one according to the perceptual.
Background and Objective:
Movement in space is a requirement of architectural perception. Philosophy also considers the factor of movement as a basis for understanding the nature. In such a way that Islamic philosophers emphasized this importance and considered movement as having perfection and purpose. The main goal of the current research is to investigate the steps of Space perception in the Allahverdi Khan portico, with looking at the concept of the Mulla Sadra’s theory of substantial motion.
Methods:
The current research is qualitative, analytical-descriptive, and the research strategy is a case study with an interpretive approach. This article examines the comparison of motion and perception in philosophy and architecture by analyzing the perceptual experience of the observer in Allah Vardi Khan's portico.
Results:
The results of the studies have shown that the spatial hierarchy in the Allahverdi Khan portico, the lack of variety of materials in the interior space of this portico and the human encounter from the entrance to its center is based on the perspective of spatial experience, which has led to the improvement of the sensory perceptions and spatial experience of the pilgrims from the portico and its spaciousness. While it provides a platform for the discovery and inner intuition of the observer, it will be guided to the most complete one according to the perceptual experience.
Conclusion:
According to the type of spaces and the movement of the pilgrims in the space of the portico, it should be stated that the spatial experience is multi-sensory and the body of this portico is built and decorated in a way that involves the five senses of the pilgrims.
