Providing a Design Model in Accordance with Islamic- Iranian Pattern

Transcription

1 Pal. Jour. V.16, I.3, No , Copyright 2017 by Palma Journal, All Rights Reserved Available online at: Providing a Design Model in Accordance with Islamic- Iranian Pattern Mehrnoosh Khadem Haghighi M.A in Architecture Abstract The main purpose of this study is to design a Cultural & Art Complex in the west of Tehran and its approach is Islamic-Iranian architectural pattern. This complex should be considered as a Persian garden and also use the principles of Islamic-Iranian architecture and design, so that it can be represented as an outstanding symbol in the district which currently does not exist. The most important thing in this project is that the Islamic-Iranian architecture principles should be designed at best. It should not be considered only as a modeling of ancient architecture, but also a new and modern Islamic-Iranian architecture; because it is a cultural space with more affinity with the past. Using the principles, foundations and patterns of Iranian architecture and converting them into line and design, the principles, foundations and patterns can be achieved which are permanently in the architecture. Some architectural works can be created with modern value, authenticity and identity without direct reference to the past architecture. Focusing on fundamentals, cultural and artistic factors in the building may lead a nondescript and ordinary building to a complete and prominent architecture; a work in which the ideals, history and culture, taste and thought and art of a society are latent. Keywords: Iranian-Islamic architecture, cultural architecture, Cultural & Art Complex in the west of Tehran, design pattern Introduction Culture has a long-standing value in the evolution of human being as the most prominent element in the recognition of the states and the most important factor of progress [1]. It is therefore necessary for the cultural growth and development of every nation to be in line with its noble traditions and lead them towards excellence [2]. With the aim of creating a dynamic complex in relation to the city as well as improving social interactions, we will try to strengthen the cultural fields of the district [3]. Given the difficulties of young people to spend their leisure time as well as other residents of this district, the design of this Cultural & Art Complex takes steps to overcome the lack of cultural centers in the district [4]. It is therefore necessary for the cultural growth and development of the district to be in line with its authentic traditions and lead them toward excellence [5]. We are looking for a building that can be considered as a Persian garden and also use the principles of Islamic-Iranian architecture and design, so that it can be represented as an outstanding symbol in the district which currently does not exist. [6]. Another point is the homogeneity of site with its surroundings; from one side the high-rise residential buildings, on the other side the lake and green fields. All these items can be proposed in a plan which is extendable to other similar areas in the country [7-13]. The items that should be in priority for this research are as follows: 1. Studying Persian Garden 2. Developing Islamic-Iranian architectural design principles 3. Studying spatial requirements for a cultural & art center 4. Marking the building in the west of Tehran 5. The possibility of extending this case study to other areas The main purpose: Design a Cultural & Art Complex in the west of Tehran and its approach is Islamic-Iranian architectural pattern. The secondary objectives include: A. Developing the Iranian architecture principles needed for this space; B. Developing the requirement of a Cultural & Art Complex; Palma Journal

2 544 M.Kh.Haghighi C. Developing functional principles of Islamic-Iranian architecture in a Cultural & Art Complex. There are many reasons for choosing this research. The first one is the lack of proper cultural and entertainment activities for the residents of this district. The most important thing in this project is that the Islamic-Iranian architecture principles should be designed at best. It should not be considered only as a modeling of ancient architecture, but also a new and modern Islamic-Iranian architecture; because it is a cultural space with more affinity with the past. The reasons are as follows: 1. Designing a new Islamic-Iranian architectural pattern 2. Updating the knowledge of design 3. Using new building materials and updated technology In general, the importance of the issue can be explained as follows: Expertise and interest of designer in doing the project Creating a new work that affects the development of the rest similar spaces. Research Methodology The overall strategy of research, regarding to its relationship with culture, life and nurturing life, is a qualitative research which has been done through the use of both library and field study (case study). Also, the present research approach is descriptive-analytical and in some parts compared the national and foreign experiences. In this study, we have tried to achieve new results for designing a Cultural & Art Complex. The overall methodology of this study is a qualitative method and this research is an exploratory study that finally leads to the new results for designing a Cultural & Art Complex. The first is lack of proper functioning of entertainment activities for residents of the area. There are many reasons for choosing this research. The first one is the lack of proper cultural and entertainment activities for the residents of this district. The most important thing in this project is that the Islamic-Iranian architecture principles should be designed at best. It should not be considered only as a modeling of ancient architecture, but also a new and modern Islamic-Iranian architecture; because it is a cultural space with more affinity with the past. This complex should be considered as a Persian garden and also use the principles of Islamic-Iranian architecture and design, so that it can be represented as an outstanding symbol in the district which currently does not exist. According to qualitative nature of research method, data analysis is done according to qualitative data. During the design process, the body presented in the research framework is also affected by the designer teams, employer, regulations and standards, users and the environment. The interaction of these groups determines the end result and data analysis type. In this analysis, we divide the problems into two categories: external and internal. Internal problems are often originated from the designer and the required standards and somewhat the employer. External problems are also applied by two groups, namely legislators and users and a series of natural factors such as climate. Theoretical framework Culture:Culture is a complex set of science, knowledge, arts, thoughts, beliefs, laws, regulations, customs and traditions and, in short, all the learned habits that a man is taken as a member of society (Keshvari, 49: 1996).Culture is a means of social control. since people learn the behavioral and cultural patterns of society through training, culture is a means that uniform their attitudes and behaviors and practice, and also controls and creates order in society by the penalties applies. Culture has the following functions: 1. Socialization 2. Education 3. Right and wrong values 4. Social Monitoring 5. Norms and customs 6. Beliefs 7. Family life system

3 Islamic Iranian Pattern Design Model 545 Art: Art is a collection of man-made works or processes created to influence the emotions, feelings and human intelligence or in order to convey a meaning or concept. It can be said that art is the ability and skill to create beauty. The most important artistic disciplines are visual arts (painting, drawing, sculpture, photography and printing), performing arts (theater and dance), music, literature (poetry, beauty, story), cinema and architecture (Moradi, 81: 2007). Identity and its concept:identity can be defined in individual and national forms. Individual identity includes personality characteristics of a person that distinguish him from the other. In fact, different aspects of a person's character determine its identity. But national identity is constant reproduction and re-change of the pattern of values, symbols, memories, myths and traditions that make up different heritage of nations. National identity is a concept that tries to reduce conflicts in group identities and put them under a higher identity, i.e. the national identity. The national identity is dominant and encompasses other subidentities. National identity has different aspects as follows (Jesus was born, 48: 1391): History of Architecture in Iran All archeological surveys and excavations suggest that the history of architecture in Iran traced back to the seventh millennium BC. Since then, this art was developed and evolved in relation to various issues, especially religious reasons. Iranian architecture particular features as compared with the architecture of other countries: features such as reasonable design, accurate calculations, correct form of coverage, compliance with the technical and scientific materials, high terraces, tall pillars and various ornaments that each simply represents the glorious architecture of Iran. The study of Islamic Architecture For religious and non-religious buildings, mathematical and geometric design symbols should be used. Designers have been able to create masterpieces in architecture utilizing these sciences during centuries, but something significant about the building are mentioned in the Islamic history books. The only notable examples are the paintings attributed to Behzad on 872 AH in Zafarnameh and Khamseh by Nezami. These paintings are now preserved at Bikaner University in the United States, in which the construction of Timor mosque and Knornogh Palace is depicted in miniatures style. Some researchers believe that the lack of useful tips about the architects of the Islamic period and their methods of design and construction is due to the fact that architects were less regarded compared with poets and philosophers. It seems that this claim is not true, because there was a need to architects and master to build places of worship and residential and commercial places in different eras. Islamic historians such as Beyhaqi, Ibn Khaldun and etc. have written valuable content about architecture and architects. For example, architects were familiar with math and geometry. Architects, masons, craftsmen and other groups concerned with architecture gave immortal glory to Iran's architectural space with full awareness of architectural techniques, special innovations and initiatives, and inspired by religious beliefs. Several groups were responsible for the construction of such a building. For example, a group was responsible until the brickwork, another group was responsible for the ornaments such as stucco and tile. Iranian architecture had not registered their names on buildings because of their humility, except for some small building. What is space? Space is a word widely used in multiple contexts and various disciplines such as philosophy, sociology, architecture and urbanism. But the wide use of the word space doesn t mean that it is interpreted the same in all above-mentioned fields, the definition of space can be considered from various aspects. Studies show that despite the seemingly common understanding of this term, there is almost no absolute agreement on the definition of space in academic debates. This word has various meanings and there is no clear and comprehensive definition that covers all aspects of this concept. Space is a very general concept. Space fills the entire universe and surrounds us entire our life. Space gives comfort and safety to the environment around us and its importance in a life is not less than sun and a place for peace. The concept of integrity: Integration is the successful coordination of all elements and also unity in the design, so that a common understanding is harvested. Integration is among visually distinctive qualities in the design that should be valued utmost; because it represents real skill in the art of design. The most important principle in the design is to achieve integration. This concept embraces all elements and qualities

4 546 M.Kh.Haghighi of design and makes them a united whole. The integration of elements is provided when the details of the plan are appropriately combined. Recognition Geographical location of Tehran: Tehran is located in the coordinates N E and its altitude varies from 1800 m in the north to 1200 meters in the center and 1050 m in the south. Tehran is extended between and the desert on the southern slopes of the Alborz mountain range. It is surrounded by Rey and Bibi Shahrbanou mountains and flat plains of Shahriyar and Varamin in the south and by the Alborz mountains in the north. The characteristics of District 22 of Tehran: District 22 of Tehran Municipality is in the northwest of Tehran, with an urban area of about 6,000 hectares and 30,000 hectares of suburbs. Due to the specific natural characteristics and location of this district in the capital, it has been recognized as an area prone for tourism hub and its future prospect is also based on this fact. In terms of history, the development of this district returns to 1960 and the implications of Tehran master plan to this district. In fact, district 22 has been long considered by urban designers and urban affairs experts because of its potential and actual environmental facilities and structural diversity of land on the one hand and its vast untapped area on the other hand, and while other parts of Tehran are suffering from non-standard architecture and density. Results Site analysis: The reasons for site selection: High potential to convert the district into another cultural hub in addition to the city center. Receptivity of traffic load due to the low traffic jam and wide streets Convenient access through urban highways and intercity freeway Proximity to the corresponding elements Size and land-use appropriate for the thesis Excellent eyesight and landscape to the lake and Chitgar Park Identifying the Site: The site under study is restricted between Hemmat Highway, Resalat Highway, Azadegan Expressway and Tehran-Karaj Freeway embedding residential, green, commercial, educational and sport land-uses. Design Options The first option:

5 Islamic Iranian Pattern Design Model 547 The second option The third option Final option

6 548 M.Kh.Haghighi Physical plan Land-use: Office No. Space Number Area (square meters) Total area Description 1 Management Secretary and typing Archive Secretariat Pantry Finance-Accounting Conference hall seat Hall 8 W.C Storage Deputies Office-Cultural-Educational 11 Disaster Management Unit Information Security Prayer room With internal separator partitions Total 965 Net total Land-use: Cultural No. Space Number Area (square meters) Total area Description 1 Museum Galleries Cinema seat amphitheater Waiting room In addition to the side spaces 6 Outdoor amphitheater Exhibition Lecture hall Information Storage Entrance and Lobby Manager W.C Net total 4730 Land-use: Educational No. Space Number Area (square meters) Total area Description 1 Atelier Training class Teachers room Theory class Library Computer site Computer site Administrator Production and distribution planning Storage W.C Consulting room Health practitioner Net total 2169 Land-use: Commercial No. Space Number Area (square meters) Total area Description 1 Super market News Store Book City W.C Warehouse Net total 900 Land-use: Services - Support No. Space Number Area (square meters) Total area Description 1 Iranian restaurant Traditional restaurant Food Court Fast food Coffee Shop Prayer room Powerhouse W.C Central warehouse Garbage dump Outdoor parking Roofed parking Children playing yard Outdoor sports ground Indoor sports hall Net total 5278 No. Land-use Total net 1 Offices Cultural Educational Commercial Services 5278 Net total area 14042

7 Islamic Iranian Pattern Design Model 549 Discussion and Conclusion Theoretical basis for designing this project is the use of open and semi-open spaces, full and empty spaces and also spatial hierarchy At the beginning of design, an axis orthogonal was selected around which the spaces form. Then, the main lines of site were used for the original form. After entering the site, a gardenlike space is considered that geometrically induces the sense of Iranian garden. After that we reach a water axis inside which the balcony pillars are reflected. Then, we track into a semi-open space where some columns with Islamic architecture are located: the sequence of columns alongside and the Islamic arches, the sequence of columns in the latitude and the porch. After passing through the colonnaded roofed space, we enter a wide open space that is originated from central courtyard of Iranian architecture and connects the two buildings of the complex. Spatial hierarchy and transposition of spaces have been considered in the design of this complex. For the façade of the complex, a shell covers entire the building which is derived from the Persian Chinese knot (four bergamot).

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13 Islamic Iranian Pattern Design Model 555 References Ashouri, Darius, definitions and concept of culture, 2007, Third Edition, Tehran, Agah Publishing Bani Masoud, Amir, Iranian contemporary architecture, 2012, Fifth Edition, Tehran, Century Architecture Publishing Pirnia, Mohammad Karim, Islamic architecture of Iran, 2007, Sixth Edition, Tehran, Iran University of Science and Technology Publishing Pirnia, Mohammad Karim, the stylistics of Iranian architecture, 2007, Eighth Edition, Tehran, Soroush Danesh Haeri, Mohammad Reza, the role of space in Iranian architecture, 2009, Second Edition, Tehran, Cultural Research Bureau publishing Khansari, M., Persian Garden: a reflection of Heaven, 2004, translation by Aran Consulting Engineers, Second Edition, Tehran, publication of the Secretariat of the International Conference on Persian Garden Tayefeh, Ehsan, idea and creativity in Iranian architecture, 2011, First Edition, Tehran, Elm Memar publishing Feizi, M., form - space and order in the architecture of Iran, 2013, First Edition, Tehran, Iran University of Science and Technology publishing Falamaki, Mohammed Mansour, the roots and theoretical tendencies of architecture, 2014, Fifth Edition, Tehran, Faza publishing Memarian, GH., Iranian architecture, 1997, second edition, Tehran, SID Memarian, GH., A journey in Theory of Architecture, 2005, Third Edition, Tehran, Soroush Danesh Ahmadi Fard, N., 2012, Vardavard Culture & Art Complex in Karaj, MS Thesis, School of Art and Architecture, Islamic Azad University Central Tehran Branch Besharat, Nasim, 2002, Yazd Culture & Art Complex, Master Thesis, School of Art and Architecture, Islamic Azad University Central Tehran Branch.