@article{ author = {gheshlaghi, nadia and mirshahzadeh, shervin and toghyani, shirin and azizi, shadi}, title = {Examining the Effect of Increasing Gibson’s Semantic Levels on Non-profit School Students’ Environmental Satisfaction in Tehran’s District}, abstract ={The discussion of man and his alienation in contemporary environments has become an important challenge in environmental psychology studies. Gibson as a theorist in the field of environmental psychology studies, introduces the component of meaning and divides it into six levels, the sixth of which is the ultimate connection between man and the environment. From the audience’s point of view, what is the view towards this issue, and what do they expect from the establishment of meaning levels in educational spaces? In other words, the purpose of the study is to determine the level of students’ expectations of establishing meaning levels and also to determine the relationship between increasing levels and environmental satisfaction of the main audience of such spaces. The research methodology is positivist, with emphasis on quantitative basic data and quantitative research. In the data collection phase, the selected method is a survey method, and in the discussion and analysis phase, the research method is based on statistical reasons and with an explanatory descriptive nature. Gibson’s semantic levels and ideal student status are considered as the two main variables of the study, which are used to determine the correlation relationship between these two variables using Pearson coefficient. Finally, this study concludes that increasing semantic levels in the interior space is more important for the audience of the space and after that the yard has the highest correlation coefficient, but in the entrance space, increasing the semantic levels has an inverse relationship with students’ environmental satisfaction and they do not seek to increase semantic levels in such spaces.}, Keywords = {Semantic levels, Gibson, Ideal status, Pearson coefficient, non-profit schools}, volume = {10}, Number = {21}, pages = {1-12}, publisher = {Art University of Isfahan}, doi = {10.29252/mmi.2.21.1}, url = {http://mmi.aui.ac.ir/article-1-683-en.html}, eprint = {http://mmi.aui.ac.ir/article-1-683-en.pdf}, journal = {Journal of Conservation and Architecture in Iran}, issn = {2345-3850}, eissn = {2538-2624}, year = {2020} } @article{ author = {taghavinejad, bahareh}, title = {Typology of the Form and the Role of the Frames Covered in the Stucco Decorations Made during 8th Century in Iran}, abstract ={The stucco decorations of the 8th century AH are considered as the most significant decorations of this era’s architecture which has made the Ilkhanid period known as the Stucco Age. These stuccos were implemented in most parts of buildings with different uses including exterior parts, gable, archs of Mihrab, surfaces of the walls and margins, as a simple reinforced type in design and construction technique. Scrutinizing reveals that these stuccos have several visual features that could have the stylistic features of stucco decorations in the mentioned period of time. The goal of this research is to introduce and study various types of frames or strip shapes in the field of plant decoration and inscriptions of the stucco decorations made during this period through studying the overall structure and the decorations existing in this frame-like form. Thus, the most important question of this research is as follows: What are different types of frames in the stucco decorations of the buildings and what are the features of these frames in terms of form variation, shape and decoration? The data was collected through wide field studies and using written resources with a descriptive-historical method and comparative approach. The results, obtained from studying 11 buildings dating back to 8th century AH of 5 provinces of Iran, show that a multifoil frame-like strip-shaped form is hidden in enticing and detailed plant decorations which continuous and diverse presence has made it possible to consider it as one of the stylistic features of the stuccoed decoration in the 8th century AH. This form designed in the forms of mihrab, intervening and scallop with folds and rounded or sharp angles, has not only contributed to the case classification (border, arcade, etc.) within which it is placed, but also has sometimes been decorated simply using recurring Kufic inscriptions, including the expression “Almolk Allah” (الملک لله) that has created a unique visual effect.}, Keywords = {Stuccoed decorations,8th century AH, Covered frames, Kufic inscriptions, Stylistics}, volume = {10}, Number = {21}, pages = {13-26}, publisher = {Art University of Isfahan}, doi = {10.29252/mmi.2.21.13}, url = {http://mmi.aui.ac.ir/article-1-636-en.html}, eprint = {http://mmi.aui.ac.ir/article-1-636-en.pdf}, journal = {Journal of Conservation and Architecture in Iran}, issn = {2345-3850}, eissn = {2538-2624}, year = {2020} } @article{ author = {mazaherian, Hamed and LotfipourSiahkalroudi, Morteza and hamzeh, Narges}, title = {Comparative Evaluation of the Effect of Color Factor on Desirability of Urban Furniture Case study; Masjed Hakim and Mohammadbagher Sadr Axes in Isfahan City}, abstract ={The color is one of the forgotten elements in designing urban spaces that can provide legible and harmonic environment for citizens in Islamic cities, according to the principles, values, beliefs and natural and climatic features. Unfortunately, the rapid growth of the urbanization phenomenon in recent decades, especially in developing countries, has dramatically changed the urban landscape, this case in Iranian cities has led to the lack of precision in using the capabilities of the color element in urban furniture, as a part of the artificial landscapes of the city. As a result it is used without any planning and standards, and thus creates confusion and lack of legibility. Isfahan as one of the most distinguished cities in central region of Iran is one of the best examples that has been able to use the color element in order to improve the quality of urban landscape and historical authenticity, maintaining and promoting its authenticity over the years, by protecting remained historical textures. The purpose of the present study is to identify suitable color factors and codes on urban furniture. In this case study, this factor has been investigated based on urban spaces of central regions of Iran with Islamic dominant culture. This research is done by using descriptive-comparative method and library documents and texts, and also the data was gathered in the context of field studies. The research findings obtained through recognizing the context of the design, statistical data as well as comparing and analyzing the color codes of two study axes (The axis of Hakim Mosque in Hakim neighborhood as the old texture, and the axis of Mohammad Bagher Sadr as the new texture in Isfahan) and also by using internal and external successful experiences and principles of using colors in them, shows that color spectrum integration in single and moving elements of urban furniture increases the legibility and identify of the environment, while using a diverse range of colors for other elements of furniture does not distort the two factors of legibility and identity.  }, Keywords = {Urban furniture, Color, Aesthetics, Isfahan}, volume = {10}, Number = {21}, pages = {27-44}, publisher = {Art University of Isfahan}, doi = {10.29252/mmi.2.21.27}, url = {http://mmi.aui.ac.ir/article-1-664-en.html}, eprint = {http://mmi.aui.ac.ir/article-1-664-en.pdf}, journal = {Journal of Conservation and Architecture in Iran}, issn = {2345-3850}, eissn = {2538-2624}, year = {2020} } @article{ author = {nasri, sahar and zamani, bahador and masoud, mohamm}, title = {Reading and Assessing the City / Neighborhood FabricAs a Text. Case Study: Sar-Tapulah Historical Neighbourhood inSanandaj}, abstract ={From a linguistic point of view, the city can be seen as a text, consisting of different components and structures being related to each other beyond a sentence. Looking at the city from this point of view, what establishes a syntactic relationship and cohesion and coherence of the components of the city as a common language is called the syntax of the city. Linguistic study of the text of the city requires a branch of linguistics called text linguistics including linguistic rules and elements beyond the sentence. Every literary text arises from the joining of a set of sentences; the relation of these sentences is not just as random as the components of the city text, but the set of all elements and components in a regular relationship creates a structured and coherent whole and provides a harmonious continuum based on certain principles and rules. The combination of these sentences in the city follows both syntactic and semantic rules. Using the principles and rules of linguistics, this paper introduces a methodology for physical and content analysis of the city applying this method for the study of Sar-Tapulah neighborhood of Sanandaj, which is one of the most important neighborhoods of the historical core of this city, in order to evaluate and analyze the criteria of its textuality using urban design techniques and tools. Applying a pathological approach towards this area the paper aims to come up with the strengths and weaknesses of Sar-Tapulah neighborhood based on the textuality criteria. Therefore, the textuality test has been done in this neighborhood based on seven textuality criteria (cohesion, coherence, intertextuality, acceptability, informativity, intention, situationality) using selected urban design techniques and tools. The research findings show Sar-Tapulah neighborhood weak in terms of textuality criteria, and this weakness is due to the deterioration of the neighborhood fabric and lack of attention to the structure of the neighborhood and textuality criteria in its related renovations.}, Keywords = {Text, Textuality, Textuality criteria, Sar-tapulah neighborhood}, volume = {10}, Number = {21}, pages = {45-62}, publisher = {Art University of Isfahan}, doi = {10.29252/mmi.2.21.45}, url = {http://mmi.aui.ac.ir/article-1-696-en.html}, eprint = {http://mmi.aui.ac.ir/article-1-696-en.pdf}, journal = {Journal of Conservation and Architecture in Iran}, issn = {2345-3850}, eissn = {2538-2624}, year = {2020} } @article{ author = {Abdollahi, Parisa and Vatandoust, Rasool}, title = {Investigating the Supplementary Restorations in Persepolis Stone Reliefs based on Achaemenids Worldview: A Comparative Study}, abstract ={Supplementary restoration which as an intervention measure aimed at compensating for the deficiency in historical and art works, like any other protective measure, requires recognizing and understanding the work. A major part of this understanding comes from our perception about the views and insights of the society that owned the concerned heritage with regards to the art as a tool to express itself: that is their worldview. Numerous studies have already been carried out in Europe and other parts of the world, on the subject of the prevailing philosophy and worldview of the people in different periods such as the ancient Greeks and Romans, medieval, renaissance, etc. These studies have resulted in numerous theories, principles and conventions in the field of the conservation/restoration of cultural properties. However in Iran, except for the several scientific studies on the Islamic art and philosophy, not much has been achieved on the Persian people’s worldview during ancient times and notably in Persepolis during Achaemenids period. This is despite the fact that the restoration works in Persepolis World Heritage site follows the same approved paths and principles based on the western worldview.  This paper is focused on the survey of the supplementary restorations implemented on the lost parts of the stone reliefs in Persepolis through field studies and literature review, making an effort to investigate  the Persians worldview during the time and its relation with art, and ultimately with the restoration of the remaining heritage. To this end, the worldviews of the ancient Greece and Rome are studied, and the two prevalent cultures of the ancient world, those of the Greeks stemming from Greek mythology, and the Iranian culture springing from the monotheistic ethical principles are compared. Considering the fundamental differences between the worldviews and consequently Iranian art history in Achaemenids era, and their counterparts in Europe, especially those of  the Greeks – as the culture which produced European art history and thus their conservation and restoration philosophy- it seems that  having similar approaches to the conservation and restoration issues, in particular conservation interventions, may not to be accepted solely based on the philosophical approaches and the art history of the Western World, and therefore there might be a need to review the conservation/restoration }, Keywords = {Deficiency, Supplementary restoration, Worldview, Stone relief, Persepolis}, volume = {10}, Number = {21}, pages = {63-76}, publisher = {Art University of Isfahan}, doi = {10.29252/mmi.2.21.63}, url = {http://mmi.aui.ac.ir/article-1-698-en.html}, eprint = {http://mmi.aui.ac.ir/article-1-698-en.pdf}, journal = {Journal of Conservation and Architecture in Iran}, issn = {2345-3850}, eissn = {2538-2624}, year = {2020} } @article{ author = {Iraji, Ahmad Ali and Zolfagharzadeh, Has}, title = {Comparative study of Daylight Design in Safavid Mosque and Renaissance Church ase studies: Jame Abbasi Mosque in Isfahan and St. Peter Church in Rome}, abstract ={This study compares the Safavid Mosque and the Renaissance Church in the field of daylight design. The present study seeks to answer these questions: What methods are used to provide the light in the mosque and church, and what are the similarities and differences between the “qualities of the presence of daylight” in each of these religious buildings? To limit the scope of research, Jame Abbasi Mosque during the Safavid period and the great Church of St. Peter in the Renaissance period were chosen as case studies and all the ways of entering daylight into them were compared relatively. For this purpose, at first, a comprehensive categorization of the ways of daylight entrance in traditional religious buildings was introduced and then techniques of daylight design in these buildings were analyzed and compared by recording field observations through virtual tourism websites and exploring library resources. In the daylight design of the church, since conventional Christian worship does not require much light, the presence of daylight does not require at the level of flow of functions. On the other hand, although in the mosque’s daylight design, the presence of daylight in space was considered, but at the level of running functions, a certain amount of brightness was required.  Qibla (direction of performing some rituals) is also one of the prominent elements in daylight design of the mosque, while Qibla and light in the church are intertwined, and churches are completely facing sunrise and sunset. Finally, it can be said that the similarities and differences in the design of daylight in the mosque and the church are due to the climatic, functional and architectural features and are also influenced by Muslims and Christians’ understanding from metaphysics of light.}, Keywords = {Daylight Design, Safavid Mosque, Renaissance Churc}, volume = {10}, Number = {21}, pages = {77-89}, publisher = {Art University of Isfahan}, doi = {10.29252/mmi.2.21.77}, url = {http://mmi.aui.ac.ir/article-1-692-en.html}, eprint = {http://mmi.aui.ac.ir/article-1-692-en.pdf}, journal = {Journal of Conservation and Architecture in Iran}, issn = {2345-3850}, eissn = {2538-2624}, year = {2020} }