Journal of Researches in Islamic Architecture

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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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If we consider the main mission of architects to be "organizing the place of human life in the context of the environment", then understanding "man and the environment and the relationship between the two" will be the basis of their design decisions. This knowledge includes both areas of "beings and musts" that if it is based on "intellect and revelation", the resulting architectural principles can be rational and Islamic, and the architectural works based on it can also be called "Islamic architecture". So far, various views on Islamic architecture have been proposed, the origins of which can be categorized from two sides. On the one hand, Islamologists have moved towards the principles and principles of architecture by using Islamic sources, and on the other hand, architects and urban planners have left their specialized position in search of Islamic architectural principles by referring to these sources. This research begins with the aim of proposing a "unifying and efficient" structure to explain the relationship between "architecture and Islam" and seeks a comprehensive model for combining and composing the components of the two categories. Our question is, "How can Islamic teachings be used comprehensively and practically in architecture?" The direction of the research is that while explaining the two categories of "Islam and architecture" with the method of content analysis and logical reasoning, an attempt is made to compile the basic concepts of these two categories by modeling. The research findings indicate that Islamic teachings can be classified into three areas: "theoretical and practical wisdom and Additional wisdom". Architecture can also be explained from three perspectives: "systemic, philosophical, strategic", the common chapter of which is the four main pillars in architecture. The combination of these two categories (three fields of Islamic wisdom and four components of architecture) provides a good capacity to organize a "school of Islamic architecture". The result is a tabular structure with 40 cells, the content of which must be supplemented by the teachings of Islamic wisdom, and can be useful in "guiding Islamic architectural research." The result of the research will be to present a unifying model to the set of views in the form of a relatively comprehensive structure, which is one of the preconditions for the formation of the "Islamic-Iranian school of architecture" on the eve of the second step of the revolution.

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The modern architect places a lot of weight on his status as an artist and heavily relies on changes like unique and self-aware language. Different intellectual foundations are effective in the production of form in architectural studies, which can be categorized in many areas, including conscious and unconscious. The researcher is attempting to determine how much the conscious mind and how much the unconscious contributed to the production of form during the contemporary era and the Safavid era, respectively. Two historical-comparative and documentary guidelines served as the foundation for this research, which was carried out using a qualitative approach. The study environment consists of documents that discuss the conceptual foundations of both the Safavid and contemporary eras. Based on the votes provided during both eras, it is important to consider the relationship between form production and creativity. As a result, a comparison was done using this index and the variables that affect it. Intellectual and artistic creativity has an unconscious nature, while scientific and logical creativity has a conscious nature. The comparative findings demonstrated that in Safavid architecture, the artist himself is transformed and finds new creativity throughout the creation of his works of art. To guide the soul in its substantial motion and to build a suitable platform for the realization of its transcendental powers, or, in other words, to lay the foundation for the immateriality of the soul, is the responsibility of the artist in the reciprocal relationship with his created product. The science of rational man is a sensual science. The Safavid era had rich and powerful intellectual roots in the unconscious process, which had an impact on the production of forms in architecture. Sacred art, in contrast to modern art, places meaning before style. Author architects discuss the phenomenon as a whole, as well as the contradictions between context and flexibility. From their perspective, however, the audience of the work is what matters since they bring the text to life, not the architect who merely recreates reality. They discuss intuition, existential experiences, and the unity of human nature. However, there is no information available regarding the nature of this encounter, the identification of the existential reality, or the advancement of it in the direction of a singular nature. Given the volume of information available to him, the architect must prioritize what can be resolved in his mind. Additionally, Eisenman believes that this individual expression occasionally promotes isolationist inventiveness without consideration for a unified order. Based on these foundations and their analysis, it is possible to conclude that it is urgently necessary to use the unconscious process in the creation of form in order to enhance the quality of the design and make it appropriate for the environment. This can be accomplished without placing the shape in its actual context by taking into consideration the inconsistencies since the architect's capacity to fully and completely comprehend the values and concepts in the universe and connect to the subconscious is constrained. Contextual construction compatibility is the result.

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