مرکز منطقه ای اطلاع رسانی علوم و فناوریمطالعات شهر ایرانی-اسلامی2228-639X15552025113The Explanation of How Iranian Garden Architecture in the Islamic Period Is Related to Human Life Areas from an Islamic Point of View (Case study: Kashan Fin Garden)تبیین چگونگی ارتباط معماری باغ‌سازی ایرانی در دوره اسلامی با ساحت‌های حیات انسان از منظر اسلام نمونه موردی: باغ فین کاشان116fa حسین مرادی نسبدانشیار گروه معماری، واحد سمنان، دانشگاه آزاد اسلامی، سمنان، ایران 000000025521584820241028Since architecture is realized in relation to human beings, it is necessary to know the relationship between architecture and human existence.  In the meantime, it seems that the art of Iranian gardening in the Islamic period embodied meanings and beliefs in a way that is related to the areas of human life.  Therefore, the purpose of this research is to explain how the art of Iranian gardening in the Islamic period is related to human existence from the point of view of Islam.  It provides for the research. The type of qualitative and fundamental research is based on the descriptive-analytical method with the use of logical reasoning. The data collection is done through documentary, library and field studies.  In conclusion, the findings of the research show that the art of Iranian gardening in an esoteric concept is proportional and corresponding to the four souls of humans, plants, animals, It is rational and spiritual.   Keywords: Architecture, Islamic Teachings, Kashan Fin Garden, The Hierarchy of Life, The Iranain Garden.   Introduction  Iran's art has paid special attention to nature since ancient times, although this thinking is rooted in the artist's worldview, the art of architecture is undoubtedly one of the objective manifestations of every nation and nation, and also the most important narrator of how that nation faces issues related to life and including nature.  The atmosphere of religious growth and Islamic thought included certain concepts and states of thought and behavior, which had a great impact on its art. The remarkable point in distinguishing the Islamic perspective from other perspectives is that the objective environment around man is not considered and there is a supernatural spiritual view of the environment and the effects of the worlds of existence on humans are taken into consideration in examining the interactions between humans and the environment, and this human transforms the environment based on their needs, values and goals.  The environment that is based on human needs can be seen in the art of gardening, which is one of the oldest arts of Iranians. From the Islamic point of view, this architecture, both its basic and formative principles and the features of its final and emerging form are related to the appropriateness of the domains of human life.  (Noghrekar, 2007: 22) since the evolutionary continuity in the art of Iranian architecture Among the Iranian gardens, Bagh Fin is an example that provides a suitable platform for research with its complete geometrical structure and special geographical location in the hot and dry climate.  Since the body of the Iranian garden is affected by the system of planting and plants, the water system, building and geometry, this research tries to rely on Islamic teachings, especially the hadith of Imam Ali (a.s.) about the levels of the human soul, plant name, animal sense, human resourcefulness and Maleke Elahi will look at how it corresponds to the physical areas of the Iranian garden.   Methods  Architecture is related to human being, which is realized in this direction, understanding the relationship between architecture and human existential structures. It is necessary that most experts and researchers have paid attention to nature and shaping it at the first level in accordance with the capabilities of architecture and human existence.  It turns out that an analysis of how this is done Communication from the Islamic perspective has not been presented so far.   Conclusion The art of Iranian gardening in a corresponding esoteric concept; the four souls are human, plant, animal, rational and spiritual.   Discussion  According to the Islamic point of view, there is a precise and meaningful correspondence between human existence and man-made spaces. Since architecture creates an architectural work by perceiving the levels of existence and being inspired by them, therefore the created work also has a The higher order of existence will correspond to the origin of God's inspiration, so the architectural space has this ability as a mediator to establish a platform for human interaction and needs, in the meantime, the construction of an Iranian garden in the Islamic period, in addition to being an indicator of Iranian man's vision of nature, has also shaped a part of his ontology, and has also embodied the meanings and beliefs of man in such a way that  In an esoteric sense, Iranian gardens correspond to all the existential constructions of man. So that this response to the levels of human life in the four constructions of plant, animal, human resourcefulness and spiritual wisdom in the Fin Kashan Garden can be explained like this   <ol> <li>In the field of plant order, the use of water and fruitful and non-fruitful plants will create a healthy and edible landscape in Fin garden with Physical comfort in the hot and dry climate of Kashan. </li> <li>In the field of animal order, the planting of plants and water combined with the system of making songs has relized all human senses of (sight, hearing, smell taste and touch) in order to provide peace.</li> <li>In the domain of the strategist, a human being has created an invitation to think by using the landscape system and focus in the garden of Fin.</li> <li>In the field of spiritual order, using centrist geometry represents an attempt from a spiritual history to manifest unity based on vision.</li> </ol>   References Blair, SH. Bloom, J. (2011) Islamic architecture, Translated by: Akram Qitasi, Tehran: Soura Publications. Barati, N; & Alehashemi, A; & Miniator Sajadi, A. (2018). “Iranian Worldview and Axial Pattern in Persian Garden”. Manzar, Vol, 9. No,41.pp: 6-15. Hatami nasari, T. Najafi, A. Fakhar, Z. (2023) The function of Geometry in the architectural infrasture and dome designs of Imam and Chahar Bagh School mosques. Journal of Islamic Art. 20(50). Pp. 737-755. Khalilnezhad, M. Tobias, K. (2016) The productive landscape in Persian Gardens; Foundations and features. Journal of Bagh- E Nazar, 13(38). Pp. 3-16. Labibzade, R. (2022) Phenomenology of the language of space in an Iranian garden based on human existential levels from the perspective of Islam, case example: Daulatabad Garden, Yazd. Journal of Green Architecture, 8(29). Pp. 1-14. Moradinasab, H. Hashemi, S. (2022) <a href="https://athar.richt.ir/article-2-1005-en.pdf">Sculptural Architecture Based on Indian Insight: The physical Distinction of Indian Gurkanic Gardens and Persian Gardens (Case Study: Taj Mahal and Homayoun Tomb Garden)</a>. Journal of Athar, 43(2). Pp. 382-399. Mazhary, M. Maghsoudi, A. Poodat, F. (2020) Studying and recognizing the structural system and the formation pattern of Khan Garden of Shushtar; A distinct type of Iranian gardening. Journal of Iranian-Islamic City, 4(11). Pp. 12-31. Noghrekar, A. Farhang, M. Taghdir, S. (2013) Examining the capabilities of the architectural space to create a platform to respond to human needs from the perspective of Islam; Case study: Zainat al-Mulk houses in Shiraz and Boroujerdi houses in Kashan, Journal of Iranian-Islamic City, 15. Pp. 21-34. Naghizade, M. (2013) Representations of beauty in Persian gardens, Journal of Manzar, 5(22). Pp. 6-9. Navai, K. Hajighasemi, K. (2013) Clay and Fantasy. Tehran: Souroush Publisher. Pour jafar, M. Rostami, S. pour jafar, A. Rostami, M. (2018) <a href="https://at.journals.ikiu.ac.ir/article_581_79d7d89ead7a800458f783d4a52ffc06.pdf?lang=en">Iranian Garden, Picturing the Described Heaven Based on the Versus from Vagheah Surah (case study: Kerman, Mahan, Kashan Fin, Neyshaboor Ghadamgah, Eram, Khan Shoshtar)</a>, Journal of Architectural Thought, 1(2), Pp.1-14. Same, R. (2016) Classification of Architecture in Accordance with Man’s Degrees of Being Based on Teachings of Quran and Islamic Wisdom. 8(4). Pp. 1-13. Shahcheraghi, A. (2016) Paradigms of the income campus on the recognition and re-creation of the Iranian garden. Tehran: Academic Jihad Publications. Taghdir, S. (2018) The structure of the process of creation and perception of architectural works based on the principles of transcendental wisdom, Journal of Fundamental Researches on Humanities, 5(3), Pp. 101-132. Uwajeh, C.P. & Ezennia, I.E. (2018) The Socio-Cultural and Ecological Perspective on Landscape and Gardening in Urban Environment: A Narrative Review. Journal of Contemporary Urban Affairs, 2(2), pp: 78-89.       از آنجاییکه معماری در رابطه با انسان محقق میشود لذا شناخت رابطه معماری با ساختارهای وجودی انسان امری ضروری است. در این میان به نظر میرسد که هنر باغ&zwnj;سازی ایرانی در دوره اسلامی به گونهای به معانی و باورها تجسم بخشیده که با ساحتهای حیات انسان مرتبط است. لذا هدف از این پژوهش تبیین چگونگی ارتباط هنر باغ&zwnj;سازی ایرانی در دوره اسلامی با مراتب وجودی انسان از منظر بینش اسلامی است. در میان باغهای ایرانی، باغ فین نمونه شاخصی است که با برخورداری از ساختار کامل هندسی و موقعیت جغرافیایی آن در اقلیم گرم و خشک بستر مناسبی را برای پژوهش فراهم میآورد. نوع تحقیق کیفی و بنیادین و متکی بر روش توصیفی- تحلیلی با بهرهگیری از استدلال منطقی است که گردآوری دادهها از طریق مطالعات اسنادی و کتابخانهای و میدانی انجام شده است. یافتههای پژوهش نشان میدهد هنر باغ&zwnj;سازی ایرانی در مفهومی باطنی متناسب و متناظر؛ چهار نفس انسان، گیاهی، جانوری، عقلانی و روحانی است یعنی همه مراتب وجودی و هستی انسان را پاسخ میدهد بگونهای که در حوزه مرتبه گیاهی، آسایش جسمانی و در حوزه مرتبه حیوانی، اغنای تمامی حواس انسان در جهت تامین آسایش را تحقق میبخشد و در حوزه مرتبه تدبیرگر انسانی با بهره&zwnj;گیری از نظام منظر و محوربندی دعوت به تأمل دارد و در مرتبه معنوی با بهرهگیری از هندسه مرکزگرا، حقیقتی متعالی (وحدت) را متجلی میسازد.

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مرکز منطقه ای اطلاع رسانی علوم و فناوریمطالعات شهر ایرانی-اسلامی2228-639X15552025113Evaluation of the Spatial Geometry of the Historical Mosques of Qom with an Emphasis on Semanticsارزیابی هندسه فضایی مساجد تاریخی قم با تأکید بر معناشناسی محور1737faحامدحیاتیاستادیار گروه معماری، دانشگاه قم، قم، ایرانمرضیهمرادی نافچیکارشناسی ارشد معماری اسلامی، دانشگاه قم، قم، ایران 00090006346989552024316The adherence to the qibla axis, regarded as a spiritual focal point and a sequence-determining element in mosque hierarchy, has consistently been a core principle in mosque design. This research aims to examine the influence of the qibla axis on the spatial and structural configuration of mosques, focusing particularly on historical mosques in the city of Qom. It analyzes the movement hierarchy and spatial axis from the entrance to the alignment with the qibla direction. The research employs a descriptive-analytical method, gathering data through library resources, cartographic analysis, and document review. The findings reveal that the design, geometry, spatial organization, and entrance orientation in most mosques in Qom reflect a strict adherence to hierarchical principles and the prominent influence of the qibla axis. The mosques are categorized into two types: uniaxial and biaxial.   Keywords: Hierarchy, Mosque, Organization, Qibla Axis, Qom Mosques, Spatial Geometry.   Introduction The mosque is undeniably one of the primary religious structures in Islam, with its foremost function being collective worship (Hillbrand, 2019: 31). As a place of worship, the mosque reflects the beliefs and values prevailing in Islamic cities, and this status is accentuated by the diversity of its functions, leading to spatial variety within the mosque (Noghrehkar, 2014: 126). The architecture of any building is formed around a functional, spatial, visual, and formal hierarchical system, which, in the particular case of mosques, revolves around the spiritual significance of the qibla axis as an orientational guide (Fattahi & Omranipour, 2014: 96). The qibla axis, a spiritual direction, influences the architecture and geometric arrangement of forms, prompting the spatial geometry to adopt a unified orientation, aligning all internal elements and spaces around this sacred axis—the qibla itself (Ziabakhsh et al., 2012: 89). Over centuries, the diverse geometry, form, and spatial structure of mosques have adapted, partly in response to the qibla axis. The varying configurations of courtyards and prayer halls can strengthen or weaken the ritualistic function of mosques (Vasigh et al., 2021). Consequently, the main question posed by this study is: How has the qibla direction as an axis influenced the architecture, geometric arrangement of forms, spatial configuration, and structure of historical mosques in Qom? The study hypothesizes that the qibla axis has a significant effect on the orientation, movement hierarchy, spatial axis, and structure of Qom’s historical mosques. Using an analytical-logical approach, this research evaluates the manifestation of the qibla orientation in the architecture of mosques across historical periods. It investigates the role of the qibla axis in the architectural design, spatial layout, and structure of historical mosques in Qom, including Alborz, Panj Ali, Chehel Akhtar, Seyyed Sadegh Rouhani, Meydan Kohneh, Jameh, Azam, the sacred Jamkaran Mosque, Jameh Kahak, Imam Hasan Askari (AS), and Sarm mosques. Necessary information was obtained from library resources and article reviews. Initially, the mosque plans are categorized based on form and axis, followed by an examination of the influence of the qibla axis on the layout, spatial structure, and composition.   Research Method This study is based on a constructivist (structuralist) epistemology within the interpretative paradigm. The theoretical orientation of the research is comparative, combining qualitative and quantitative (mixed) data. The results are descriptive-analytical, following a historical-interpretive approach. The research uses typological analysis, employing data collection methods such as library (documentary) research, cartographic analysis, and note-taking. Initially, examples from each historical period are described, analyzed, and examined. The characteristics of each period are then identified and the relevant patterns or models for each period are introduced. This structural assessment considers the influence of the qibla axis on the mosque plans and spatial organization in historical mosques across Qom, including Panj Ali, Alborz, Chehel Akhtar, Seyyed Sadegh Rouhani, Meydan Kohneh, Jameh, Azam, Jameh Kahak, Imam Hasan Askari (AS), Sarm, and the sacred Jamkaran Mosque.   Table: Analysis of the Spatial Structure of Traditional Mosques in Qom <table width="614"> <tbody> <tr> <td width="104"> Mosque Name </td> <td width="178"> Representation in Contemporary Context </td> <td width="134"> Qibla Orientation Analysis </td> <td width="198"> Spatial Diagram </td> </tr> <tr> <td width="104"> Jameh Mosque </td> <td width="178"> . </td> <td width="134"> </td> <td width="198"> </td> </tr> <tr> <td width="104"> Imam Hasan Askari (AS) </td> <td width="178"> </td> <td width="134"> </td> <td width="198"> </td> </tr> <tr> <td width="104"> Alborz Mosque </td> <td width="178"> </td> <td width="134"> </td> <td width="198"> </td> </tr> <tr> <td width="104"> Jameh Kahak </td> <td width="178"> </td> <td width="134"> </td> <td width="198"> </td> </tr> <tr> <td width="104"> Panj Ali Mosque </td> <td width="178"> <table> <tbody> <tr> <td width="29"> </td> </tr> <tr> <td> </td> <td> </td> </tr> </tbody> </table>   </td> <td width="134"> </td> <td width="198"> </td> </tr> <tr> <td width="104"> Chehel Akhtar Mosque   </td> <td width="178"> </td> <td width="134"> </td> <td width="198"> </td> </tr> <tr> <td width="104"> Seyyed Sadegh Rouhani Mosque </td> <td width="178">   </td> <td width="134"> </td> <td width="198"> . </td> </tr> <tr> <td width="104"> Meydan Kohneh Mosque </td> <td width="178"> </td> <td width="134"> </td> <td width="198"> </td> </tr> <tr> <td width="104"> Azam Mosque </td> <td width="178"> </td> <td width="134"> </td> <td width="198"> </td> </tr> <tr> <td width="104"> Sarm Mosque </td> <td width="178"> </td> <td width="134"> </td> <td width="198"> </td> </tr> </tbody> </table>   Discussion  The historical evolution of mosque architecture demonstrates that architects and mosque patrons consistently valued the alignment with the qibla axis as a core design principle. The qibla direction has had a unique and powerful influence on the spatial organization of mosques. Adherence to hierarchical principles in mosques reinforces the qibla orientation, adding depth to the structure, prompting individuals to pause and reflect on the mysteries embedded within the transition from stillness to movement in this sacred path. This alignment serves to guide worshippers from internal to external spaces, creating balance, symmetry, order, and unity within the building. In the studied mosques, spatial organization in some cases is structured based on the shabestan’s layout. The geometry of the shabestan, usually a square or rectangle, aligns with the qibla. If the site geometry is irregular, the shabestan may be divided into sections. With the sides of the shabestan’s geometry aligned with the qibla axis, the prayer hall’s design sometimes extends towards the qibla, while other times, the hall is shallower compared to the courtyard, allowing a view of the qibla side and the mihrab axis. Additional spaces, such as ablution rooms, chambers, and courtyards, are positioned adjacent to the shabestan, organized along a movement axis. Considering the impact of the qibla axis on the architecture of Qom’s mosques, the number of axes incorporated into the mosque layouts, and the geometric shapes used in the sub-spaces, Qom’s mosques can be categorized into two types: uniaxial and biaxial. The uniaxial type includes Alborz, Panj Ali, Chehel Akhtar, Seyyed Sadegh Rouhani, Meydan Kohneh, Jameh, Azam, and the Jamkaran mosques, where movement from the entrance to the shabestan aligns directly or pivots towards the qibla axis. Generally, these mosques share a characteristic emphasis on an extended prayer hall oriented along the qibla axis. In contrast, the biaxial type, represented by Jameh Kahak, Imam Hasan Askari (AS), and Sarm mosques, features a qibla axis that is distinct from the movement axis. This design often manifests as either parallel or perpendicular orientations between the two axes, creating a unique architectural interaction.   Conclusion  The qibla axis, as a spiritual orientation, has a profound impact on the architecture and geometric arrangement of mosque forms. This guiding principle ensures that the spatial geometry aligns in a unified direction, with all internal elements and spaces organized around the sacred qibla axis. Mosque architects have strived to reinforce unity within the mosque’s overall design, ensuring that the space naturally guides worshippers with cleanliness and purity from the entrance to the prayer hall, ultimately directing them towards the qibla without need for verbal instruction. The qibla axis and spatial geometry collectively orient individuals, allowing them to face the qibla from within a structured environment. This research, through examining the principles, architectural values, and the role of the qibla axis in shaping the spatial layout of Iranian and Islamic mosques, has shown that in various historical periods, maintaining a hierarchical structure with a clear qibla orientation was considered an essential design principle. Mosque designers aimed to implement this concept across all aspects of the mosque’s plan, enabling worshippers to follow a sequential pathway towards the qibla and ultimately toward communion with the Divine. The geometric approaches in the mosque plans of Qom’s historical mosques can be divided into two types: regular and composite geometries. In the regular type, the axes are either aligned or distinctly separable from each other, usually leading to a clearer emphasis on the qibla axis. Conversely, in composite geometry, the architectural approach sometimes leads to weakened or less distinct axis differentiation within the design. Among uniaxial mosques—such as Alborz, Panj Ali, Chehel Akhtar, Seyyed Sadegh Rouhani, Meydan Kohneh, Jameh, Azam, and Jamkaran—the movement path from the entrance to the shabestan either follows a direct alignment with the qibla or incorporates slight rotations towards it. In general, the architectural similarity in these mosques is the elongated prayer hall that emphasizes the qibla direction. In biaxial mosques—such as Jameh Kahak, Imam Hasan Askari (AS), and Sarm—the qibla axis can be differentiated from the movement axis. This arrangement sometimes involves parallel alignment, while at other times, the axes intersect perpendicularly, creating an architectural dynamic that supports the spiritual focus on the qibla.   References Fatahi, Shamsollah; Ali Omranipour (2014) "Analysis of the Role of the Qibla Axis in the Spatial Organization of Contemporary Mosques in Ilam."Islamic Architecture Research Journal, Year 1, Issue 2. Hamzeh Nejad, Mehdi, Sahar FathiAzar (2014) "Semantics of Axis in Mosques and Churches. "Iranian-Islamic Urban Studies Quarterly,Issue7. Hayaty, Hamed, Marzieh Fakheri Raouf, and Bahare Karvani (2019) "The Role of the Qibla in Orientation of Traditional Mosques in Dezful."Bagh-eNazar Journal, 16 (70): 49-60. Hojat, Eesa, Mahdi Maleki (2012) "Convergence of Three Fundamental Geometric Types and the Emergence of the Iranian Mosque Geometry. "Fine Arts Journal: Architecture and Urban Planning, 17 (4). Manan Raisi, Mohammad, AbdulHamid Noghrehkar (2014) "Evaluation of Spatial Geometry in Contemporary Tehran Mosques Using Thematic Analysis of Religious Texts." Islamic Architecture Research Journal, Vol. 2, Issue 3. Nejad Ebrahimi, Ahad; Mohammad Sheikh al-Hakami (2021) "The Impact of Hierarchical Sequencing on Creating a Sense of Belonging in Tabriz Mosques." Islamic Architecture Research Journal, Vol. 9, Issue 4. Sarami, HamidReza, Sahar Khodabakhshi, and Matin Khalaghdoost (2016) "Comparative Analysis of Shabestan Orientation in Traditional and Contemporary Mosques." Iranian-Islamic Urban Studies Quarterly, Vol. 7, Issue 24. Vasigh, Behzad, Hosein Naseri, and Sadegh Bakhtiari (2021) "Exploration of Axis Concepts in Yazd Mosques." City Identity Journal,45(16): 5-16. Ziabakhsh, Neda, Seyed Mostafa Mokhtabad Amrei (2012) "Religious Significance of Natural Light in Architectural Spaces." Fine Arts Journal: Performing Arts and Music, 3 (42): 59-71.از گذشته تا به امروز معماران و طراحان مساجد، جهتگیری الهی در سیر حرکت انسان از بدو ورود تا قرارگیری و سلسله مراتب حرکتی در راستای محور قبله را عنوان یک اصل ارزشمند دانسته&zwnj;اند. رعایت محور قبله به عنوان کانون، نقطه اتصال معنوی انسان و عامل توالی سلسله مراتب در مساجد همواره به عنوان یک رکن در طراحی مساجد مورد توجه بوده است. این پژوهش درصدد پاسخ به این سوال است که چگونه جهت قبله به عنوان محور بر معماری و آرایش هندسی فرمها، چیدمان فضایی داخلی و کالبد مساجد تاریخی شهر قم اثرگذار بوده است؟ هدف این پژوهش، بررسی تأثیرمحور قبله بر ساختار فضایی و کالبدی مساجد با تمرکز بر مساجد تاریخی شهر قم است و سلسله مراتب حرکتی و محور فضایی را از ورود تا قرارگیری در راستای قبله بررسی می&zwnj;نماید. روش تحقیق، توصیفی- تحلیلی است که به لحاظ معرفت&zwnj;شناسی در پارادایم تفسیری یا برساختی (ساختارگرایی)، به لحاظ جهتگیری نظری، به لحاظ رویکرد (شیوه استدلال) تطبیقی، به لحاظ نوع دادهها کیفی و کمی (ترکیبی)، به لحاظ نوع نتایج توصیفی- تحلیلی و رهیافت تاریخی- تفسیری است که با تحلیل گونهشناختی و گردآوری داده کتابخانهای (اسنادی) و نقشهخوانی، سندخوانی انجام شده است. یافته&zwnj;ها بیانگر آن است که در طراحی، هندسه، ساماندهی فضایی و جهت ورودی اکثر مساجد شهر قم با توجه به رعایت اصل سلسله مراتب و شاخص بودن و تأثیرپذیری از محور و جهت قبله، به دو دسته&zwnj;ی تک محوری و دومحوری تقسیمبندی می&zwnj;شوند.

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مرکز منطقه ای اطلاع رسانی علوم و فناوریمطالعات شهر ایرانی-اسلامی2228-639X15552025113Reading the Design of Sheikh Lotfollah Mosque from the Perspective of Layered Semiotics based on the Originality of Meaningخوانش طراحی مسجد شیخ‌لطف‌الله از منظر نشانه‌شناسی لایه‌ای بر پایه اصالت معنا3959faمینولفافچیاستادیار گروه معماری، واحد کرج، دانشگاه آزاد اسلامی، کرج، ایران مهسارزاقیدانشجوی دکتری معماری، واحد کرج، دانشگاه آزاد اسلامی، کرج، ایران 00090006739264632023724The present research has studied the reading of Sheikh Latafullah Mosque with a semiotic approach based on the originality of meaning. It seems that the art of Iranian architecture, especially in the design of mosques and religious places, was formed with the principles of semiotics, especially based on the originality of meaning. The purpose of this research is to find a suitable model for reading the structures of Sheikh Latfullah Mosque. The basic question is how to analyze the structural reading of Sheikh Latfullah Mosque from the semantic point of view. The research method is theoretical with qualitative variables and logical and philosophical reasoning. The generalities and structures of the studied building were made in the five systems of the text creation platform, and then with the initial coding and classification, the concepts in three levels of explicit, implicit and symbolic meaning; has been extracted. The results show that the symbolic meaning of the mosque can be expressed under the title "Architecture of the Sheikh Latfullah Mosque, a phenomenon for the actualization of the divine word in the direction of refining the human soul".   Keywords: Architecture, Coding, Semiotics of Authenticity and Meaning, Sheikh Latafullah Mosque.   Introduction: One of the important topics in semantics is the issue of different levels of meaning. The first level is the main meaning or reference; which shows the main performance (achievable performance) of a subject. The next level is called implied meaning or reference, which is symbolic in nature. These different levels of meaning make it possible to distinguish between the function or the way of direct use of an object and the social recognition of that object (Eco, 1968:18). In some cases, echo expresses implicit meanings for usually visual mediators, which at the same time cannot be understood without the system of signs. He calls these two aspects of meaning one explicit meaning and the other implicit meaning and introduces two different aspects of communication between the work and the experiencer (Eco, 1980:20-24). Although the term meaning obviously implies something that cannot be quantified (Schultz & Schultz, 1998:85). The explicit meaning in the recognition of architecture can be interpreted as the visual perception of the works in the first encounter, which may be considered abstractly as the visual manifestation in the first moment of encountering the work, without being affected by all inner senses (Necipoglu, 2000:274). Nevertheless, it seems that the explicit meaning of architecture includes that aspect of architectural expression that shows the intended functions of architecture openly and in a conventional and conventional way. In addition to the explicit expression of concepts, every architecture expresses aspects of life in an implicit way, which is synonymous with the phenomenon of perception in architecture, and in this intellectual system, the various aspects of architecture are in reality consistent with each other and do not precede or follow each other. Embertovaco interprets these meanings in relation to the function of architecture as primary and secondary use. The first gives the explicit meaning of architecture and the second gives the implicit meaning to architecture. At the same time, he points out that these interpretations do not mean the priority of the primary function over the secondary one, but rather the realization of the secondary function behind the primary meaning (Eco, 1980:25). The main question for this research is how to analyze the structural reading of Sheikh Latufullah Mosque from the semantic point of view. The purpose of this question is to provide a model for a better understanding of the layers of mosque construction, so that according to it, lasting and popular mosques can be designed for the future generation and also perform the best performance in the restoration of old works. To compile the analysis; The generalities and structures of the studied building have been carried out in five systems of text creation, and by analyzing them, the concepts and signs used in them have been obtained, and then by coding and categorizing the concepts in three levels of explicit, implicit and symbolic meaning; has been extracted. In this research, a selected and famous example of Iranian architecture has been analyzed, in order to try to extract and revive the signs through the reasons for creating layers based on the originality of their meaning through the context of reading the architectural design with its codes and signs by means of semiotics based on The originality of the meaning as well as its effect in Iranian architecture by studying a case study by proving the existence of signs in that era, emphasizing its physical element in architecture, because it seems that the art of Iranian architecture, especially in mosques and religious places; It is formed with the principles of semiotics, especially based on the originality of meaning. Therefore, the purpose of this research is to prove the existence of signs based on the originality of meaning in Iranian-Islamic architecture.   Structural layers of the building: In this research, in order to categorize and codify the data, layers for the Sheikh Lotfollah Mosque, in five layers with the names of construction, access, landscape, functional physical and environmental layers; considered because the words of the text here are structural elements, masses and volumes, access ways, spaces and elements around the collective and environment and the dimensions of the forms, then by coding them into three levels of explicit, implicit and symbolic meanings, and finally the meanings Their symbols have been extracted, therefore, in this part, the layers in the buildings are explained first, and the structure of the layers of the Sheikh Latfullah Mosque is also introduced. First, relying on the previous stage, that is, the stage of specifying the architectural layers of the building, the element or elements that are important in the architecture of the building and have the potential to be signs; extracted, which are basically the representation of signs. After extracting the elements related to the representation of signs, in this stage, the concepts and meanings related to the architectural layers are categorized and extracted at the first level of categorization and their explicit meanings, and then at a higher level, i.e. the second level, as implicit meanings, and finally at a higher level from that means the third level; Meanings and concepts have been classified and categorized in a more symbolic and abstract way.   Conclusion To achieve the goals of the research, a model was used for semiotic analysis in the building of Sheikh Latfullah Mosque, which was based on the content analysis of the data of the article and their coding in order to achieve its different meanings and levels. As it can be seen, the mass of Sheikh Latfullah mosque shapes the space and in the text of the form, the following concepts are noticeable: - Being required to accompany all the text layers with their own special features, which leads to the text texture process. - The continuity of the building layers of the Sheikh Latfullah Mosque creates the texture based on the principle of coexistence. According to the studies, the symbolic meaning of this magnificent mosque can be expressed under the title "Sheikh Latfullah mosque architecture, a phenomenon for the actualization of the divine word in the direction of refining the human soul".   References Appleyard.D (1969) Why buildings are known environment and behavior. 1(2),131-156. Ahmadi, Adib, Ahmadi, Mohammad Azad (2022) a comparative study of the architecture of the first and second Pahlavi periods from the perspective of semiotics and semantics of the case studies of the Museum of Ancient Iran and the Museum of Contemporary Arts, Eastern Art and Civilization Magazine, year 11, number 39. Arabi, Jafar (2017) Iranian view, deep view of transparency in Islamic architecture, International Congress of Leading Contemporary Architecture and Urbanism in Islamic Countries, Mashhad. Bagheri, Sahar, Einifar, Alireza (2012) Scrutiny and limitation of the scope of inclusion and manifestation of signs in architecture, architecture and urban planning of Arman Shahr, No. 17, 1-10. Burkhart, Titus (2012) The Sacred Art of Principles and Methods, Jalal Sattari, Soroush Publishing House, Tehran. Biranvand, Muslim (2011) Recognizing sustainable architecture and its place in achieving sustainable development goals, Daneshnama Monthly, No. 196-197, Tehran 72-79. Ephampope, Arthur (2006) Iranian Architecture, Sadri Afshar, Gholamhossein, 7th edition, Tehran, Akhtran. Eco, Umberto (1968) Function and Sign: Semiotics in Architecture, in the City and the Sign: An In troduction to Urban Semiotics, Gottdiener, M. and Lagopoulos, A., (ads), New York, Columbia University Press. Eco, Umberto (1980) Function and Sign: The Semiotics of Architecture. In Geoffrey Broadbent and Richard Bunt and Charles Jancks eds. Signs, Symbols and Architecture. Chichester: John Wiley & Sons, 25. Jalali Milani, Samieh, Nejad Ebrahimi, Ahad, Beiti, Hamed, Vandshaari, Ali (2019) Measuring the possibility of using Ervin Paofsky's method in reading facades of historical houses in Iran, Bagh Nazar Scientific Journal, 17 (92), 89 - 102. Necipoglu, G. (2000) The Topkapı Scroll: Geometry and Ornament in Islamic Architecture: Topkapı Palace Museum Library MS H (B. Ghayoumi, Trans). Tehran: Rozaneh. Panahi, Siamak (2021) Semantic Architecture and Cinema, third edition, Tehran, Asr Konkash. Pourjafar, Mohammadreza, Montazeral Hajeh, Mehdi, Ranjbar, Ehsan (2009) evaluation of ecological capacity in order to determine the appropriate limits of sustainable urban development, a case study of the new city of Sahand, the first conference on sustainable urban development. Pourjafar, Mohammadreza, Yousefi, Zahid (2007) Recognizing the effect of meaning in the immortality of a case study of Horaman village, Takht Kurdistan, Maskan neighborhood and village environment, 28 (125), 17-2. Schultz, D.; Schultz, S. (1998) Theories of Personality, (S. Mohammadi, Trans.). Tehran: Homa Publication.    پژوهش حاضر به خوانش مسجد شیخ&zwnj;لطف&zwnj;الله با رویکرد نشانه&zwnj;شناسی بر پایه اصالت معنا پرداخته است. معماری به مثابه معنا، بازتابنده اندیشه&zwnj;ها و ارزش&zwnj;هایی است که برای درک و دریافت معانی آن باید از علم نشا&zwnj;نه&zwnj;ها مدد جست و چون این علم نشات گرفته از فلسفه است، پس باید آن را از دیدگاه&zwnj;های فلسفی مورد خوانش قرار داد تا رمزگشایی گردد. به نظر می&zwnj;رسد هنر معماری ایرانی به&zwnj;خصوص در طراحی مساجد و مکان&zwnj;های مذهبی با اصول نشانه&zwnj;شناسی، به&zwnj;خصوص بر پایه اصالت معنا شکل گرفته است. لذا هدف از این پژوهش رسیدن به الگوی مناسب جهت خوانش ساختارهای مسجد شیخ&zwnj;لطف&zwnj;الله است که آن را بتوان به دیگر مساجد نیز تعمیم داد. برای رسیدن به این مهم، یک سؤال اساسی مطرح می&zwnj;شود که خوانش ساختاری مسجد شیخ&zwnj;لطف&zwnj;الله از منظر معنایی چگونه تحلیل می&zwnj;شود. روش تحقیق این مقاله از نوع نظری است که در مرحله جمع&zwnj;آوری اطلاعات از روش کتابخانه&zwnj;ای و مشاهده با متغیر کیفی و استدلال منطقی و فلسفی بهره برده است. برای مدون کردن تحلیل&zwnj;ها؛ کلیات و ساختارهای ساختمان مورد مطالعه در پنج نظام بستر خلق متن، صورت گرفته است و با تجزیه و تحلیل آنها به مفاهیم و نشانه&zwnj;های بکار رفته در آنها دست یافته و سپس با کدگذاری و دسته&zwnj;بندی اولیه، مفاهیم در سه سطح معنایی صریح، ضمنی و نمادین؛ استخراج شده است. نتایج تحقیق حاکی از آن است که در متن فرم مسجد شیخ&zwnj;لطف&zwnj;الله، مفاهیم زیر قابل ملاحظه می&zwnj;باشند: ملزم شدن همراهی تمامی لایه&zwnj;های متنی با ویژگی&zwnj;های خاص خودشان که منجر به فرآیند بافت متن آن می&zwnj;شود و همچنین پیوستگی لایه&zwnj;های سازنده مسجد شیخ&zwnj;لطف&zwnj;الله بر اساس اصل همنشینی، بافت را بوجود می&zwnj;آورد. و در نهایت می&zwnj;توان معنای نمادین این مسجد باشکوه را تحت عنوان «معماری مسجد شیخ&zwnj;لطف&zwnj;الله، پدیده&zwnj;ای برای فعلیت یافتن کلام الهی در جهت پالایش روح آدمی» بیان نمود.

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مرکز منطقه ای اطلاع رسانی علوم و فناوریمطالعات شهر ایرانی-اسلامی2228-639X15552025113An Approach to the Course of Architectural Transformation in Al-Ghadir Mosque, Tehranنگرشی به سیر دگردیسی معماری در مسجد الغدیر تهران6181fa مینا دهواریدانشجوی دکتری، گروه معماری، دانشگاه آزاد اسلامی، واحد امارات، دبیکاوهبذرافکناستادیار، گروه معماری، واحد تهران مرکزی، دانشگاه آزاد اسلامی، تهران، ایرانمهردادمتیناستادیار، گروه معماری، واحد تهران مرکزی، دانشگاه آزاد اسلامی، تهران، ایران 2023911The Al-Ghadir Mosque in Tehran represents a unique type of modern mosque in Iran that showcases a transformation in architectural styles. This study aims to explore the factors and dimensions of this transformation in the Al-Ghadir Mosque. Utilizing a descriptive-analytical research method, the analysis was conducted using SPSS software and multivariate regression testing. The findings reveal that the form transformation of this mosque has created a flexible space usable for purposes beyond just a mosque. Additionally, the adherence to principles of past architecture, without considering contemporary needs, is a design weakness that has been overlooked. The results indicate that the design principles of the Al-Ghadir Mosque represent an intermediary model between traditional and modern architecture.   Keywords: Al-Ghadir Mosque, Architecture of Mosques, Design Principles, Form, Transformation.   Introdoction In the era (the period of confrontation between tradition modernity), modern architectural perspectives, along with the new generation of academic architects, have significantly influenced the design of new buildings, including mosques. Contemporary mosques undergone significant changes in and space, leading their reinterpretation within society. This diversity can be observed in structures such as the Sepahsalar Mosque, Shahid Motahari Mosque, Jundi Shapur Mosque in Ahvaz, and Al-Jawad Mosque, which are among the first mosques affected by various approaches and trends. Additionally, modern mosques such as Tehran University Mosque, which adopts a new style; Amir Mosque, which incorporates and modifies traditional models; Bushehr Cement Factory Mosque, featuring modern materials and traditional climatic architectural patterns; and the Jameh Mosque of Shahrak Gharb, which utilizes past architectural characteristics in a novel manner, illustrate this transformation. In contrast, mosques like the Hazrat Rasoul (SAW) Mosque by Naghrekar, which retains a completely traditional model of Iranian architecture, clearly expressing Islamic-Iranian architectural identity, highlight a significant difference that displays the metamorphosis of mosque architecture. The Al-Ghadir Mosque in Tehran, with its primary 12-faceted prism shape reaching 20m in height and situated without significant setback from the main southern street, represents a transformation in mosque architecture due to its distinct design and shape in the dome. The spatial quality of the dome hall in this mosque differs from that of traditional mosque dome halls, as this space evokes imagery of funerary and roadside architecture in traditional Iran. Considering the changes and developments in mosque design and proposed innovations in the architectural plan, the elements and symbols of this Islamic structure, this research aims to uncover the course of architectural metamorphosis in contemporary mosques. Due to the extensive volume of studies and the breadth of analyses, the Al-Ghadir Mosque in Tehran has been selected as the case study. Thus, the current research aims to investigate how the form transformation in the Al-Ghadir Mosque has occurred, leading to two main questions: 1- How has the form transformation occurred in the Al-Ghadir Mosque in Tehran? 2- What is the primary factor influencing this transformation in the Al-Ghadir Mosque?   Metodology This research is of a qualitative nature, with an interpretivist epistemological paradigm. After collecting data through descriptive and reviewing existing literature, the analysis was conducted using logical and deductive reasoning based on a whole-to-part approach. Considering the present research's objective, which is to investigate the evolution of metamorphosis in the architecture of the Al-Ghadir Mosque, the independent variable is the "design model of the Al-Ghadir Mosque." The authors aim to discover the reasons for choosing this model and how various factors influence its design idea. The principles and criteria related to architectural design examined in this research are presented in Figure 1.   <table> <tbody> <tr> <td width="0"> </td> </tr> <tr> <td> </td> <td> </td> </tr> </tbody> </table>                                                   Figure 1 - Principles and Criteria Extracted from the Theoretical Foundations of the Research (Soozhee, 2008; Andjelkovic, 2016; Lazovic, 1988; Bazarafkan, 2012; Mir Sajadi and Farkhish, 2016; Hojjat & Maleki, 2012).   The measurement tool was a researcher-designed questionnaire with closed-ended responses, created based on the statistical community's familiarity with the concepts related to the present research. This questionnaire includes 15 questions about the Al-Ghadir Mosque in Tehran, distributed to the sample population. The validity of the questionnaire was assessed using content validity, while reliability was analyzed using Cronbach's alpha method, yielding an alpha coefficient of 0.86. After collecting the information, the data obtained from the questionnaires were analyzed using SPSS software and regression testing.   Results   Figure 2. The Symbolic System and Metamorphosis of the Al-Ghadir Mosque Tehran   Table 1. Summary of the Principles of Metamorphosis in the Design of the Al-Ghadir Mosque   <table width="601"> <tbody> <tr> <td colspan="6" width="601"> Principles of Metamorphosis in Architecture </td> </tr> <tr> <td width="110"> Expansion and Flexibility of Space </td> <td width="28"> ■ </td> <td width="189"> Possibility of assigning other uses to spaces due to spatial extensiveness and flexibility </td> <td width="86"> Movement Circulation </td> <td width="28"> - </td> <td width="160"> A collection of diverse and extensive spaces without spatial connectivity </td> </tr> <tr> <td width="110"> Integration with Nature </td> <td width="28"> - </td> <td width="189"> Despite the existing harmony with the natural environment, integration with nature is not evident </td> <td width="86"> Proportions of Structure & Building </td> <td width="28"> ■ </td> <td width="160"> Use of modern materials and absence of traditional elements in mosques </td> </tr> <tr> <td width="110"> Design </td> <td width="28"> - </td> <td width="189"> Balancing modernity and tradition </td> <td width="86"> Design Model Concept </td> <td width="28">   </td> <td width="160"> Spatial organization, rhythm, movement and dynamism, unconventional form and volume </td> </tr> </tbody> </table>   Discussion and Conclusion The results of this research indicate that the Al-Ghadir Mosque is a fusion of traditional mosques with a structure. The Al-Ghadir Mosque represents a unique amalgamation of traditional and modern architectural elements. Utilizing materials such as brick, and featuring design components like Kufic inscriptions, colored glass, pointed arch windows, and water elements, the mosque captures the essence of traditional mosque architecture. The conceptual tradition behind its design also reflects the aesthetics found in the dome structures typical of the Seljuk period, presenting a distinctive architectural form. While the mosque's primary function is as a place of worship, it also aspires to create a sense of spiritual elevation and peace for its visitors, facilitated through innovative lighting and shading techniques. However, the mosque's design raises concern from a sociological perspective. It aims to reflect community values and cultural concepts while interacting with local and climatic contexts. Despite these intentions, the overall form of the Al-Ghadir Mosque fails to evoke the traditional sense of peace commonly found in historic mosques, as it may even produce feelings of unease among visitors. This contradiction is significant, as the symbolic representation of sacred space becomes clouded by architectural choices that deviate from traditional practices. The mosque's design is characterized by a tiered dome, a departure from conventional dome formations, and a total absence of minarets, as noted in Figure 5. The architect's approach emphasizes innovation over tradition, which results in a failure to achieve spatial circulation, a key principle in mosque architecture. According to Table 6, the Al-Ghadir Mosque showcases a diverse range of spaces, yet lacks effective circulation. It embodies principles of harmony with the natural environment, spatial organization, rhythm, movement, and dynamism. The use of modern materials and unconventional forms is contrasted with the disregarding of traditional elements, creating a disconnection between indoor and outdoor spaces. Ultimately, the design overlooks the crucial principle of integrating with nature. This lack of cohesion with the environment suggests that while the mosque attempts to innovate, it may inadvertently neglect the cultural and architectural values that could enhance its identity and functionality. This research highlights both the strengths and deficiencies in the Al-Ghadir Mosque's design philosophy, prompting a reconsideration of how contemporary mosque architecture can better reflect communal and spiritual values.   References Alami, B, Majidi, M. (2023) Assessing the Impact of Form-Shaping Components on Its Aspects for Achieving Desired Architectural Form: Case Study of the Cultural Heritage Organization Building. Urban Architecture of Arman City, 15(40): 129-147. Andjelkovic, V (2016) Transformation principles in the architectural design of a contemporary house, archi DOCT, The e-journal for the dissemination of doctoral research in architecture, Vol. 4 (1),87-107. Bazarkan, K (2012) Necessity of Methods Architectural Design, Bionthly Architect, Issue 72. Hojjat, E, Maleki, M. (2012) Convergence of Three Fundamental Geometric Types and the Emergence of Iranian Geometry. Fine Arts - Architecture and Urban Planning, 17(4): 5-16. Lazović, Z. (1988) Prototip i njegov značaj u arhitektonskom projektovanju. IMS`88-teh¬nologija projektovanja i građenja, Beograd: IMS SR Srbije, str. 129-158. Mahdinejad, J. (2018) Comparative Study of Design Criteria for Mosque Spaces Based on Spatial Syntax (Case Study: Traditional, Modern, and Contemporary Mosques). Iranian-Islamic City, 31: 63-74. Mashhadi, A, Namdari, M R. (2023) Comparative Analysis of Form Metamorphosis in Mosques Lacking Iwan from the Safavid Era to Contemporary Iran (Case Study: Sheikh Lotfallah Mosque and Al-Ghadir Mosque in Tehran), Iranian-Islamic City Studies, 50(13): 51-63. Mir Sajadi, A, Farkhesh, H. (2016) Rerecognizing Patterns and Identifying the Influential Spatial Factors in the Traditional Residential Fabric of Nishapur. Journal of Islamic Architectural Research, 4(4): 90-72. Pourjafar, M R, Amir Khani, A, Liliyan, M R. (2011) Modern and Contemporary Mosque Architecture in Asia, Europe, America, Africa, and Oceania. First Edition, Tehran: Tahan. Seydian, S. A. (2008) Architecture (The Case of Contemporary Iranian Architecture and Identity Issue): Reading Identity in a Cultural Approach to Revitalize Run-down Fabrics. Aineh Khial, 2, (10): 69-77. Soozhee, L. (2008) Transformative design: understanding the principle, processes and products to create transformative design outcomes. Hoxton Park: N.S.W.   معماري به هر مقصودي كه انجام شود، در بسـتر اثر معماري پديد مي&zwnj;آيد. این بستر در طول تاریخ به دلیل تغییر اصول و شاخصه&zwnj;های خود دچار دگردیسی می&zwnj;گردد. مسجد الغدیر تهران نوع خاصی از مساجد نوگرای ایران است که می&zwnj;تواند تصویری از دگردیسی معماری را به نمایش بگذارد. لذا پژوهش حاضر با طرح این سؤال که «دگردیسی فرمی در مسجد الغدیر تهران چگونه ایجاد شده است؟» به بررسی عوامل و ابعاد دگردیسی&zwnj;های رخ&zwnj;داده در این مسجد می&zwnj;پردازد. در این پژوهش که با رویکردی تحلیلی- توصیفی انجام پذیرفته، نویسندگان برای ابزار تحقیق خود از پرسشنامه محقق ساخته&zwnj;ای استفاده نموده&zwnj;اند که در میان 10 نفر از صاحب&zwnj;نظران و اساتید معماری و شهرسازی توزیع &zwnj;شده است. تجزیه&zwnj; وتحلیل داده&zwnj;ها با استفاده از نرم&zwnj;افزار SPSS و آزمون رگرسیون چند متغیره انجام پذیرفته است. یافته&zwnj;ها نشان می&zwnj;دهد که دگردیسی رخ&zwnj;داده در مسجد الغدیر تهران به لحاظ فرمی سبب خلق فضایی شده که علاوه بر کاربری مسجد، دارای انعطاف&zwnj;پذیری فضایی نیز است و به &zwnj;واسطۀ آن می&zwnj;تواند کاربری&zwnj;های گوناگونی داشته باشد. در این میان الگوبرداری از اصول معماری گذشته بدون توجه به نیاز زمان احداث بنا نقطه&zwnj; ضعف مدل&zwnj; طراحی این مسجد است که نادیده گرفته&zwnj; شده است. در یک جمع&zwnj;بندی کلی، اصول طراحی بکار رفته در این مسجد تا حدودی میان مدرن بودن و سنتی بودن مانده است و هیچ&zwnj;کدام از اصول دگردیسی مطرح&zwnj; شده در این مسجد رعایت نشده است.

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مرکز منطقه ای اطلاع رسانی علوم و فناوریمطالعات شهر ایرانی-اسلامی2228-639X15552025113Conceptual Pattern of Ontological Hermeneutics of Historical Symbolic Centers of the Islamic-Iranian Cityالگوی مفهومی تأویل هستی‌شناسانه مراکز نمادین تاریخی شهر اسلامی- ایرانی8399fa سید مجتبیحسینیپژوهشگر دکتری، گروه شهرسازی، دانشگاه آزاد اسلامی واحد تهران مرکزی، تهران، ايران 0009000929775137محمودرضاییدانشیار گروه معماري، دانشگاه آزاد اسلامی واحد تهران مرکزی، تهران، ايران 0000000297763834علی رضابندرآباددانشیار گروه شهرسازی، دانشگاه آزاد اسلامی واحد تهران مرکزی، تهران، ايران 2024518Historical Islamic-Iranian cities are symbolic centers that have been erected with the ontological dimensions and unity of "existence" and "creatures". The goal is to achieve a model for understanding historical symbolic centers so that things regain their meaning based on identity and life. The method is qualitative and uses historical-interpretive approaches and logical reasoning. Collecting information by reviewing historical texts, checking Opinions are based on content analysis. Findings, the interpretation of the centers is based on the combination of "rational", "transitive" and "scientific" worldviews and "unitarian", "phenomenological" and "structuralist" systems and on the components of "time and context". "Design (effect)", "Designer", "Audience" and "Structure and Levels". The interpretation pattern of the place (effect) with the level of "activity of the audience" in a range of "being and folding" and "designer agency" in a range of " Iconic can be read as "symbolic". When the activism is in the possible state and the agency is in the symbolic state, the perception of the place approaches the position of "empty of everything"(unitarian).   Keywords: Being-becoming, Iranian-Islamic City, Sign-Symbolic, Symbolic Centers, Unitary   Introduction Historical cities in general and Islamic-Iranian cities in particular have symbolic centers with trans-temporal and trans-spatial values that are based on "narrative", "rational" and "scientific" worldviews. In the Iranian-Islamic cities, there are special eternal and world-wide transcorporeal and transtemporal values. Although those values can be used in today's cities, forgetting our own eternal memories on the one hand and being amazed by other people's mental idols on the other hand are double obstacles to achieving these values, and physical and physical attitudes are more than the views of nature. And it has been a source (Shaygan, 1402 and Rezaei, 2013). Reading and understanding the world of these centers depends on "interpretation". Mulla Sadra (1981) considers interpretation to be equivalent to receiving and has defined it according to the level of existence of humans. According to him, the first level of reception belongs to "sensory reception". "Illusory perception" and "intellectual perception" are placed in the next levels, and the last and highest level is based on "heart perception". According to Heidegger, hermeneutics is related to the interpretation of the truth of human existence. He knows the truth in the revelation and presence of things (Jamadi, 1400: 346). From this point of view, the truth in the real sense is removing the veil from visible things (Ahmadi, 2019: 535). In order to achieve such an understanding, one must inevitably have a structural view of existence and follow things in interaction with each other and with reference to ontological dimensions. The Islamic-Iranian city is also formed in the horizon of its historical evolution from the unification of the four "Ummat", "Religion", "Government" and "Guilds" which reach unity in the center of the city (Habibi, 1400: 66). Referring to the medieval centers and the presence of religious elements in them, Montgomery states that in these centers, the human gaze is drawn to the sky and ends in heaven. Therefore, in order to achieve it, bitterness and hard work are needed (Montgomery, 2013: 25). Such symbolic centers both present a world of meaning and provide life in themselves. What has gained strength today in cities with special identity support is the process of production and reproduction of space based on the logic of capital accumulation and its commodification (Madani et al., 1400: 19). This research seeks to answer the fundamental question that in the field of semantic architecture and urban planning, with what conceptual model can symbolic centers be interpreted and the deep meanings governing them be understood? Therefore, it seeks to reveal the world of place and understand its hidden layers through its ontological interpretation.   Methods The current research is in the category of qualitative methods and has an understanding paradigm and follows the combination of the three systems of unification, phenomenology and structuralism. An interpretive methodology that emphasizes both the existential structures emphasized by Islamic-Iranian philosophers and follows the framework of ontological phenomenology in this field. This research has benefited from "historical-interpretive" and "logical reasoning" approaches in the form of "systematic review" of texts. The research measures in accordance with the mentioned approaches can be expressed in the form of "reading", which ultimately leads to "understanding" and increases the validity and reliability of the research findings.   Results It is possible to extract the key categories and concepts related to the research topic as well as the fundamental components in the interpretation of historical symbolic centers and categorize and present them in the form of Table 1.     Table 1: Extracting the fundamental components of interpretation (Authors)   <table width="93%"> <tbody> <tr> <td width="31%"> Hermeneutic component </td> <td width="26%"> Basic concepts </td> <td width="21%"> attitude </td> <td width="20%"> Paradigm </td> </tr> <tr> <td width="31%"> 1. Structure and levels of existence (psychic) 2. Time and context 3. Design </td> <td width="26%"> 1. Existence and beings 2. Integrity 3. Existential structure 4. Levels of existence 5. Center 6. Symbol </td> <td width="21%"> ontologically </td> <td width="20%"> Unitarian </td> </tr> <tr> <td width="31%"> 1. Time and context 2. Design 3. Designer (creator of design) 4. Audience </td> <td width="26%"> 1. Being and being 2. Generality 3. Levels 4. Center 5. Sign and symbol </td> <td width="21%"> ontologically/biologically </td> <td width="20%"> Phenomenology </td> </tr> <tr> <td width="31%"> 1. The structure and levels of horizons 2. Time and context 3. Designer (creator of design) 4. Audience </td> <td width="26%"> 1. Creatures 2. Generality 3. Structure 4. Hierarchy 5. Center 6. Sign and symbol </td> <td width="21%"> biologically </td> <td width="20%"> Structuralism </td> </tr> </tbody> </table>       <table> <tbody> <tr> <td width="293"> </td> </tr> <tr> <td width="293">   </td> </tr> </tbody> </table>                     Figure 1: Interpretation model of the symbolic centers of all layers (Authors)   Conclusion By using the obtained concepts and categories and by combining them with the theoretical views proposed in this field, the findings of the research can be categorized as follows: First; A point of view that has a structural approach in the field of interpretation and considers the understanding of center to be dependent on horizontal and existential structures as well as levels of the universe (Nasut to Lahut). Second; A perspective that has a historical approach and understands the truth of each work by referring it to "time and context". In this view, the socio-cultural, economic, political, etc. conditions during the creation of the work have become important, and rereading it can make us understand the existential necessity of the work and its system of meanings. third; It is an attitude that places a special value on the "center (work/design)" regardless of context, time and designer. In this view, relationships between elements are more important than individual elements, and by understanding the relationships between them and the semiotic system governing it, one can understand the semantic order governing the work and find the way to the truth in it. Fourth: the point of view that gives originality to the "designer (creator of the work)" and insists on his intended meaning. So the character and intention of the designer are important and the discovery of the hidden truth in the work depends on our understanding of the characteristics of the creator of the work. fifth; An attitude that pays attention to the "addressee" and means the understanding of the center by referring to him. The originality lies with the audience and his perception of the work is important regardless of other factors. In this view, the existential position of every human being is very important and the understanding of the world of work has a related relationship with it. Based on what has passed and by superimposing the above diagrams, the results of the current research studies can be presented in the form of a conceptual model of the interpretation of symbolic centers in the form of Figure 1. Symbolic centers find a relationship with existence and with the beings gathered in these centers and reach unity. This unity manifests and determines life and identity in the true sense in the central space. In addition, as a result of the observer's interaction with the space, the pattern of interpretation of the place (effect) can be considered to be related to the level of "activity of the audience" in the space on the one hand and the agency of the designer of the place on the other hand. This observing action in the space can be insignificant and appear in the state of mere "being" or presence in the space. "Designer agency" can also be directly applied figuratively or symbolically. When the active position of the observer is more in the possible mode and the agency is in the symbolic mode, the perception of the place approaches the position of unity of the observer with the space (Table 2).   Table 2: An alternative of knowledge and methodology of phenomenological perception of place (Authors)   <table> <tbody> <tr> <td width="123"> phenomenon-audience </td> <td colspan="2" width="180"> The location of the phenomenon (plan) </td> <td width="104"> Audience position </td> </tr> <tr> <td width="123"> :activism </td> <td width="85"> Being </td> <td width="94"> doable </td> <td width="104"> audience: </td> </tr> <tr> <td width="123"> :agency </td> <td width="85"> sign </td> <td width="94">  symbolic </td> <td width="104"> Designer: </td> </tr> </tbody> </table>   The interpretation of the world of this type of symbolic centers is possible by referring to the factors of "context and time", "designer (creator)", "structure and levels", "audience" and "design (work)". Symbolic centers that come from Islamic-Iranian ontology, epistemology, and methodology extend their trans-spatial and semantic aspects to a world beyond matter.   Refrences Ahmadi, Babak (2019) Truth and beauty, 38th edition, Tehran, Nashr-e markaz. [In Persian] Habibi, Seyyed Mohsen (2017) DELA CITE A LA VILLE, 19th edition, Tehran, Tehran University Press. [In Persian] Jamadi, Siavash (2020) Background and time of phenomenology, Tehran, Nashr-e Qoqnous. [In Persian] Madani, Farzaneh, Mojtaba Rafiyan, Efsoun Mahdavi, and Fatemeh Mohammadniai Qaraei (2017) “Codification of a theoretical significance of the generation of a moral monthly space based on an Iranian-Islamic month using the methods of building it” (Reviewed by: Bakh Markazi Shahr Mashhad Street), “Research Publishing House”. Iranian-Islamic month, cycle 12, page 46, pp. 17-37. [In Persian] Montgomary, Charles (2013) Happy City, Doubleday, Farrar, Straus and Giroux. Rezaei, Mahmoud (2012) "Eternal and universal values of Islamic urbanism (representation of trans-physical and trans-temporal views of the Islamic city)", Human Geography Research, 45(3), pp. 169-190. [In Persian] Shaygan, Dariush (2023) mental idols and eternal memory, Tehran, Farzan Roz. [In Persian] Shirazi, Sadr al-Muttahalin (1981) Transcendent wisdom in the four rational books. [In Persian]شهرهای تاریخی به شکل عام و شهرهای اسلامی- ایرانی به شکل خاص همواره واجد مراکز نمادینی بوده که بر پایه ابعاد هستی شناسانه و مفاهیم بنیادین «وجود و موجود» برپا شده و موجودات را به گونه همبسته گردهم آورده و به یگانگی می&zwnj;کشاند. وجهی که در انگاره شهرسازی نوگرا، با تعریف عام از انسان و الزامات مادی او، نوعی از سازماندهی را در شهرها رقم زده که به پراکندگی بیش از حد انسان و فعالیت منجر شده و بی&zwnj;معنایی آنها را باعث شده است. پرسش اين است كه با چه الگوی مفهومی می&zwnj;توان این مکان&zwnj;ها را تأویل کرد. هدف از پژوهش، دستیابی به الگویی برای فهمِ هستی&zwnj;شناسانه نمادین تاریخی شهر اسلامی-ایرانی است که بر پایهی پیوندی عمیق با امری واحد، آشکارشده و معنای خویش را بر پایهی هویت و حیات بازیابد. روش پژوهش، پدیدارشناسی هرمنوتیک بوده و در پارادايم تفهمي قرار می&zwnj;گیرد و از رویکردهای تاریخی- تفسیری و استدلال منطقی بهره می&zwnj;برد. گردآوری اطلاعات بر پایه مرور سيستماتيك متون تاریخی و بررسی آراء علمی، عرفانی، فلسفی و فضایی- کالبدی استوار شده تا با تحلیل محتوا نظم خویش را بازیابد. یافته&zwnj;ها، تأویل هستی&zwnj;شناسه این مراکز را از طریق امتزاج جهان&zwnj;بینی&zwnj;های «عقلی»، «نقلی» و «علمی» و در چارچوب سامانه&zwnj;های «وحدت&zwnj;گرا»، «پدیدارشناسی» و «ساختارگرایی» دنبال کرده و به مؤلفه&zwnj;های «زمان و زمینه»، «طرح (اثر)»، «طراح (پدیدآورنده)»، «مخاطب» و «ساختار و مراتب» راه می&zwnj;یابد. الگوی تأویل مکان (اثر) با میزان «کنشگری مخاطب» در طیفی از حالت «بودن تا شدن» او در مکان و «عاملیت طراح» در طیفی از «شمایلی تا نمادین» قابل خوانش است. وقتی موقعیت کنشگری بیشتر در حالت شدنی و عاملیت در حالت نمادین باشد، ادراک مکان به موقعیت «تهی از هر» (وحدت&zwnj;گرا) نزدیک می&zwnj;شود. در این کشاکش، امکان فهم زبان فرامکانی با ارجاع به مؤلفه ادراک معنایی بیشتر می&rlm;شود.

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مرکز منطقه ای اطلاع رسانی علوم و فناوریمطالعات شهر ایرانی-اسلامی2228-639X15552025113Business Improvement Districts as a New Approach for Planning and Revitalization of City Centers (Case Study: Nazi Abad District of Tehran)نواحی بهبود کسب و کار به عنوان رهیافتی نوین در جهت برنامه‌ریزی و تجدید حیات مراکز شهر (مطالعه موردی: محله نازی‌آباد تهران)101119faحمیدرمضانیمربی گروه پژوهشی منظر شهری، پژوهشگاه علوم انسانی و مطالعات اجتماعی جهاد دانشگاهی، تهران، ایران https://orcid.org/0009-0005-8321-9482 میلادتفنگچی مهیاریپژوهشگر دکتری شهرسازی، دانشکده شهرسازی، دانشگاه تهران، تهران، ایرانhttps://orcid.org/0009-0001-4096-0626 حدیث کمریکارشناس ارشد برنامه¬ریزی منطقه¬ای، دانشکده شهرسازی، دانشگاه تهران، تهران، ایران https://orcid.org/0009-0002-5742-55042023108Achieving lively and dynamic urban centers on the one hand and spreading this dynamism in the direction of continuous change and improving the quality of place on the other hand should be considered one of the most important urban issues in urban centers of Iran. These centers are in two situations in terms of intervention; First, urban centers whose economic dynamics have decreased over time due to various economic, functional and spatial reasons, and second, urban centers whose functional dynamics have not led to the improvement of the quality of the place. Among these approaches, today business improvement district (BID) can sort out overwhelming problems of old city center in the word. The Nazi Abad district of Tehran with its regional land-use, designed for business orders and strong financial foundation can take advantage from opportunities and innovations that a business development district create through interaction among property owners and businesses. Therefore, the purpose of the present study is to provide safe and vibrant business centers based on opportunities and innovations which BID provided with the community-based economic development planning in Nazi Abad District, including its residents, business and property owners and local government become profitable. After collecting data through a questionnaire, Confirmatory Factor Analysis method were used to explain the relationships between manifest and hidden variables and Path Analysis to explain the relationships between hidden variables. The Results of the research show that, in order to create a business improvement district in Nazi Abad should first focus on social dimension and component, and then it should emphasize on the economic, transportation and accessibility, physical land-use, and environmental dimensions and components. Moreover, among the sub-dimensions, local business development plays an important role, followed by the participation increasement, security, project financing, pedestrian access and occupational training. In conclusion, in order to implement and institutionalize the Business Improvement Districts in the country's urban planning system, it will be necessary to draft clear and codified local laws and the support of relevant officials and institutions.   Keywords: Business Improvement Districts (BIDs), City Centers, Revitalization, Nazi Abad District of Tehran, and Structural Equation Modeling.   Introduction Although today urban centers are mentioned as the most important part of a city, but due to the physical and functional issues of these centers as well as the development of business areas in other different urban areas due to having special facilities, day by day the prosperity of these centers are reduced and it also reduces the desire of customers to buy from urban centers. One of the new approaches mentioned for the planning and revitalization of these centers is the approach of business improvement districts. Since the 1970s, many countries around the world have enacted laws that allow for the creation of business improvement zones. A business improvement district is a local entity consisting of property or business owners that collects taxes from its members in a specific area and uses this revenue to advance its goals, including maintaining public spaces, security, innovation, communication, development, and others. (Valli et al, 2024: 2). One of the contemporary methods to revive and prevent the destruction and deterioration of these shopping centers is to create business improvement districts. These conceptual areas are aimed at economic empowerment and social participation, especially in the city center or commercial retail strip, which through the partnership between commercial property owners and with tools such as taxes, in a way to seek the prosperity of business, increase economic vitality, improve the security situation, increase public spaces, increase public health. The neighborhood of Nazi Abad, having extra-regional uses and designed commercial lines, can benefit from the innovations that the business improvement district creates and with the participation and interaction between property and business owners, existing threats can be overcome through the establishment of the business improvement district. Therefore, the purpose of this article is to introduce the business improvement district of Naziabad and to identify the dimensions, components and indicators affecting this issue in Naziabad neighborhood.   Research Method The method used in this research is a descriptive-analytical method and the data collection method is in the form of a questionnaire. At the beginning, the dimensions, criteria and indicators of the business improvement districts were extracted according to the studies and the theoretical framework of the research and became the basis for designing the questionnaire. Finally, after collecting the data through the questionnaire, using the external model (confirmatory factor analysis method) in SPSS software to explain the relationships between obvious and hidden variables and the internal model (data path analysis) in Smart PLS software for explaining the relationships between hidden variables was explained with each other.             Results The relationship between the investigated variables in each of the research hypotheses has been tested based on a causal structure with the PLS partial least squares technique. In the general model of the research that is drawn in Figure 1, the measurement model (the relationship between each of the observable variables and the hidden variable) and the path model (the relationship between the hidden variables) have been calculated. In order to measure the significance of relationships, the t-statistic has been calculated using the autocorrelation method. In this model, which is the output of Smart PLS software, a summary of the results related to the standard factor load of the relationships of the research variables is presented. Figure 1. Research structure model extracted from Smart PLS software   Nazi Abad neighborhood receives more influence from some dimensions and components to become an active, safe and lively business improvement district. The social dimension has the greatest impact on the business improvement district of Nazi Abad, compared to other factors, followed by the economic, transportation and access and physical, user and environmental dimensions in the second to fourth place in terms of influencing on business improvement district. The studies conducted indicate that in order to create a business improvement district in Nazi Abad, in addition to prioritizing the effective dimensions, the first stage should be focused on the development of local business. This orientation that emphasizes the concept of collective activity is the most important need of this area. Then, to achieve the business improvement district of Nazi Abad, increasing participation and providing security from social dimensions plays the most important role. With a significant difference compared to these variables, project financing is from the economic categories and pedestrian access to the area is from the sub-dimensions of transportation and access. After that, there is the promotion of job training and horse access to the district. The lower impact intensity of the business improvement district of Naziabad from the variables of improving the physical condition, land use planning and improving the environment is also the reason for the least effect of the physical, use and environment dimensions on the creation of the desired business district.   Discussion and Conclusion Today, while the centers of cities and districts are referred to as the most important part and their beating heart, due to social, economic, physical and functional issues and problems on the one hand and the existence of large retail stores and shopping centers in the districts On the other hand, the prosperity of the city with special facilities decreases day by day the prosperity of these centers and the desire of customers to buy from these centers decreases. One of the new approaches in the direction of revitalizing these centers is the approach of business improvement districts use to improve and manage a specific area or a specific business line in a cooperative manner. Despite the large number of domestic and foreign researches that have been conducted in relation to business improvement districts, most of these studies are on an urban scale (Moradi, 2017; Barati et al., 2013) and non-urban (Sharif-Zadegan and Malek-Pour, 1390; Valli et al., 2024) and this issue has been investigated less on a local scale and from the point of view of business owners. Therefore, in this research, the investigation of Naziabad neighborhood showed that there are grounds and tendencies to create a business improvement district that can bring economic prosperity and good quality of life back to Naziabad neighborhood. Of course, this requires a comprehensive study of all the features related to business improvement districts in Naziabad neighborhood.   References MacDonald, John, Grunwald, Ben, J. Stokes, Robert, and Ricky Bluthenthal (2013) The Privatization of Public Safety in Urban Neighborhoods: Do Business Improvement Districts Reduce Violent Crime Among Adolescents? Law & Society Review, Volume 47, Number 3 (2013), Pp, 621-652. Mitchell, Jerry (2008) Business Improvement Districts and the Shape of American Cities. Published by State University Of New York Press, pp, 1-152. Morcol, Goktug, and Ulf Zimmermann (2008) Metropolitan Governance and Business Improvement Districts. Published by Taylor & Francis Group, LLC, pp. 27-50. Morcol, Goktug, Lorlene, Hoyt, Jack W, Meek, and Ulf Zimmermann (2008) Business Improvement Districts; Research, Theories and controversies, CRC press, New York, pp, 1-26. Peyroux, Elisabeth, Putz, Robert, and Georg Glasze (2012) Business Improvement Districts (BIDs): the internationalization and contextualization of a ‘travelling concept. European Urban and Regional Studies, 2012, pp, 111-120. Valli, Chiara, Olesen, Kristian, and Peter Parker (2024) Solutions in search of a problem: Opening policy windows for Business Improvement Districts in the Nordic countries. Politics and Space. Vol 0(0), pp, 1-18.    دستیابی به مراکز شهری سرزنده و پویا و تسری این پویایی در راستای تحول مستمر و ارتقای کیفیت مکان را میبایست یکی از مهمترین مسائل شهری در مراکز شهری ایران قلمداد نمود. این مراکز از حیث مداخله در دو وضعیت قرار میگیرند؛ اول مراکز شهری که در گذر زمان به دلایل مختلف اقتصادی، عملکردی و فضایی از پویایی اقتصادی آنها کاسته شده و دوم مراکز شهری که پویایی عملکردی آنها به ارتقای کیفیت مکان منجر نشده است. گذار از این مراکز و دستیابی به مراکز فعال و سرزنده، نیازمند تغییر در رویکردهای کنونی و حرکت به سمت رهیافت&zwnj; «نواحی بهبود کسب و کار» است. هدف این مقاله معرفی ناحیه بهبود کسب و کار نازی&zwnj;آباد و شناسایی ابعاد، مؤلفهها و شاخصهای تأثیرگذار بر این موضوع است. پس از گردآوری داده&zwnj;ها از طریق پرسشنامه، از روشهای تحلیل عاملی تأییدی برای تبیین روابط بین متغیرهای آشکار و پنهان و تحلیل مسیر برای تبیین روابط بین متغیرهای پنهان بایکدیگر استفاده شد. نتایج این پژوهش نشان داد ایجاد ناحیه بهبود کسب و کار نازیآباد به ترتیب متاثر از بعد اجتماعی، اقتصادی، حمل و نقل و دسترسی و سپس کالبدی، کاربری و محیطی است. در سطح بعدی برای ایجاد یک ناحیه بهبود کسب و کار فعال در محله نازیآباد میبایست بر توسعه تجارت محلی، افزایش مشارکت اجتماعی، تأمین امنیت و تأمین مالی پروژه متمرکز شد.

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