Journal of Researches in Islamic Architecture

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Many scholars believe that social modernity in Iran has been started far earlier than era of Reza Shah Pahlavi with its up-down modernization project and it is argued that there has been an innate social process of modernity gradually developed since Qajar period. So it can be questioned that which one of the two cultural models of Modernity and Tradition has been dominating Qajar artifacts and if there were any clear footsteps of cultural patterns of modernity in spaces of everyday life of ordinary people of that time. Here, this question is inquired from the viewpoint of guest’s spatiality of home. Beginning from this question then domestic examples from first period of introducing of modernity to Iran (since Qajar to starting years of Pahlavi Dynasty) with emphasize on cases of city of Tabriz are studied concentrating on effects of the two cultures of Tradition and Modernity on spatial patterns of hospitality within these houses. The hypothesis of productive effect of dialectic of “self-other” on domestic spaces of modern era is put into critical debate. Three basic patterns of domestic spaces (minimal house, maximal one and collective house) are analyzed from viewpoint of spatial-cultural relations. Each of these three patterns has its special theoretical debate in western discourse of early modernity. For each pattern two example of Qajar houses of Tabriz are selected for analyzing of guest space: Amir-Nezam house and Behnam House are considered as maximalist type, Alavi House and Sehhati house as minimal examples and Rastgar house as semi-community house. So the research method is historical-interpretive based on historical texts, assessments and pictures as well as buildings. The maximal pattern is bourgeois’ that is manifested in Victorian examples. In this pattern all spaces are arranged upon a theatrical scene in which actors are homeowners and audiences are guests. This theatrical model as Goffman argued has been extended to contemporary western house. Introduction of large variety of rooms for various presences of guests can be interpreted as a byproduct of this culture. In comparison, in its Iranian counterpart there is no considerable social distance between the host and the guest in spatial order of a conventional party. Such a view has resulted in unifying of guest receiving space and living space which is placed at the central axis of house. This axial position is a socio-cultural characteristic of guest’s spatiality which is not restricted to maximalist ones. Any separation among people during guest presence would be upon vast family divisions which has no relation to guests. Heavy interior decoration of bourgeois’ internal design is eliminated in many houses of rich men of Qajar as our study shows. Two minimalist patterns of early modernity are arguable: dirty houses of Industrial revolution and what has been called “the minimum dwelling” by modernists. The latter is a product of modernists’ social project which was based on reducing home-living in the favor of social presence. It was an essential step to deny private sphere. The guest’s spatiality here was seen as being with others in out-of-home places. So restaurant and saloons occupied the place of parlors. Searching for Iranian transformation like that model has reverse result. We have shown here that in Qajar small houses of Tabriz, there were no conceptual difference in comparison with maximalist houses while historical documents show no sign of development of out-of-home places for guests. The third pattern is the community houses that were seen as utopias of the project of modernity. From the view point of guests’ spatiality, this pattern is movement towards denying any distance between self and other so the stranger becomes host as well as guest. In utopist text of William Morris (News from Nowhere) such a position is articulated. It has been argued by many writers of western culture that it has been common pattern of medieval society that has been destroyed by bourgeois’ culture. If the utopia were to be realized then strangers should be accepted in common spaces without any exception and if the socialist utopia was going on then maximizing use of common facilities would be seen as an instrument to saving the community so any private guest should make use of common ones instead of host’s ones (the example of socialist Russia housing projects). Khanghah of Daravish in the Islamic word pursues such a pattern with the exception of absence of family i.e. these places where completely masculine spaces. So these could not be extended to dwelling patterns of traditional Iran. In Tabriz of Qajar there were no similar examples to multifamily apartments of socialists’ utopias of early 20th century as well as utopian community ones. The only close examples to utopian patterns of modern guests’ spatiality in Tabriz are rare hotels of late Qajar and a house (Rastgar) with a linear and multi-unit plan that cannot be undoubtedly a Qajar house. It is could be said that social analysis of guests’ spatiality of modernity is heavily based on resolving of dialectic of otherness in western society of 19 century. This study shows that real patterns of modernity for guest’s spatiality at home differs greatly from its counterparts of Qajar Iran and those of Qajar could be interpreted far more persuasively with traditional patterns than those of modernity. So now it is possible to put some query on the hypothesis that tells if there was not obligatory modernization project of Rezashah then there would be an innate Iranian Modernity. Full openness toward strangers embedded at the center of utopian views of intellectuals of modernity and has been at the focal point of modern utopias has no essential meaning in domestic culture of Qajar era of Iran because acceptance of guest as a member of family was so deep in cultural-spatial patterns of those people that modern utopian perspective of fading “otherness” in spatial arrangement of hospitality of home has no new message for that people. So it is conceivable that the theory of innate cultural permutation of Islamic and traditional lifestyle of Iranians without Rezashah’s projects cannot be easily confirmed for social history of Iran.

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Beauty is related to experiencing beauty events, which has different beauty experiences among people due to different circumstances, however, understanding beauty is incredibly difficult. On one hand, the public agree that beauty is considered a value as far as its particular manifestations are pleasing, on the other hand, as it is worth studying, it is considered an educational issue. Moreover, as it is a living object of social development, it is also regarded as a cultural topic. An artistic work, whether a result of one's work or a product of the artistic innovation of a group, appears due to inspirations or advices of a society and necessarily resembles the color of society. Undoubtedly, features of artist's life and even his/her physical features are reflected in his/her artwork, but reflection is not direct, and indeed it can be recognized and measured after passing through filtering of society. The beauty of urban environment as a living space, experienced by a wide range of people every day, is one of transcendental needs of human and functions as a stimulus for his flourishing. Therefore, in forming and designing the environment, category of art and its relation to aesthetics is of high significance and becomes a valuable and purposeful phenomenon in the society. Although aesthetic values differ between various cultures and communities, if these values are in conflict with cultural issues of society, they will create rational, accepted, and emotional norms of society. In addition, considering undeniable relation of any designing and shaping human life environment, like designing environment with art and also the relation of this reformulations with spiritual concepts of beauty, the concept of "aesthetics" which is in fact basis of philosophical and theoretical designs, becomes of great importance. On the other hand, urban buildings and spaces as an identifier of Iranian cities, have been shaped under the influence of Iranian-Islamic artistic and thought patterns over many years and have provided opportunity for public cooperation and interactions and in present era, with evolution of architecture and urbanism, process of designing and creating urban spaces has declined and a defective role of national identity and Iranian-Islamic culture is manifested, which indeed, ignoring these issues in designing has led to lack of originality and validity of the design. Therefore, this study attempts to consider the mentioned importance and answer vital questions of " what is the theoretical position of fundamental aesthetic values in two views of the West and Iranian-Islamic world?! What is practical application of an overview of the fundamental aesthetic values in Islamic-Iranian architecture and urbanism?", Thus, the current paper investigates theoretical concept of fundamental aesthetics values, to identify Iranian-Islamic fundamental aesthetics values and explain functional status of fundamental aesthetic values in creating Islamic-Iranian architecture and urbanism as well. As this paper attempts to deepen fundamental aesthetic values in creating Islamic-Iranian architecture and urbanism, it is considered basic research. Since urbanization is an interdisciplinary field, subject of aesthetics can be examined in the humanities and school sciences (theoretical and practical wisdom) and in science (physical dimensions).
This research is developmental and functional in terms of purpose and approach (characteristics and nature of data) and qualitative nature and methods; it is a description of type of content analysis and in the section of theoretical framework is interrogative. The information is collected by generalizing to field of Iranian-Islamic architecture and urban planning with method of deductive reasoning seeks to explain basic values of aesthetics and provide a new classification appropriate to principles of creating Iranian-Islamic architecture and urban planning. The collection of data and qualitative information in this research is also using written scientific documentary sources and libraries in order to explain conceptual model of research.
In a general conclusion, it can be said that today in Iran, beauty is either imitated by Western models or there are many shortcomings in applying the principles of Iranian-Islamic aesthetics.
This is due to the lack of a true understanding of fundamental values of Islamic Iranian aesthetics.
Therefore, a suitable framework should be created for architects and urban planners, who can extract desired criteria by considering basic values of aesthetics. For this purpose, studies have been done in previous studies and theoretical basis to assess direct relationship of aesthetics factors. These factors show relationship between fundamental values of Iranian-Islamic aesthetics and types, criteria and sub-criteria of aesthetics. Therefore, findings of research on fundamental values of aesthetics in Islam include four main categories:
1. Reasonable aesthetics 2. Sensible 3. Reasonable based on sensible, and 4. Sensible based on reasonable. Furthermore, in order to evolve the fundamental values of aesthetics, types of aesthetics are needed, these include: 1. Logical values, 2. Meaning and codification values, 3. Aspirations and logical ideas respectively and 4. Emotional and moral contexts values. These values which are directly related to fundamental values of Iranian-Islamic aesthetics and Iranian-Islamic aesthetic criteria, are related to practical application of an overview of fundamental values of aesthetics in Iranian-Islamic architecture and urban planning. Since aesthetic criteria are basis for assessment, to identify and select t fundamental values of aesthetics, these criteria include; Harmony (purposefulness, proportionality, balance, order, symmetry, correspondence), meaningfulness and perception (spiritual influence, equation, contrast, free will, disinterestedness), absolute self-existence of God (hierarchy, unity, ideal of embodiment, concentration, harmony, peace, vicinity, sophistication), emotional pleasure (relationships between shapes and forms and colors, pure manifestation of emotions and feelings) and stability and identity (piety, inclusion, freedom, connection with past and future, emergence of nature) and are directly related to types of aesthetic values. Thus, architecture and urban projects can offer new patterns in terms of Iranian-Islamic culture and employ creativity of designers. This was done by creating a logical relationship between aesthetic values and application of values in theoretical field of architecture and urban project.

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The issue of the ultimate goal in Islamic architecture, contrary to contemporary views, is not so vague, and to consider "divinity" as this goal would be less controversial. However, this term can take on very variable meanings, and the main issue of the present study is to refine the variable meanings and reach the correct framework from the perspective of Islam. This paper aims to study the role of nurturing architecture from new angles and make its connection with the spiritual dimension of human life clearer. In search of a new theory for reading the mosque in Islam, this paper first criticizes the aesthetic and epistemological approach to the role of the mosque from the perspective of the traditional text and as an approach that places the body or space of the mosque in the position of the spirituality and points out that it lacks the necessary authenticity from an Islamic point of view. Then, by proposing an "instrumental" approach to the role of the mosque in achieving the spirituality instead of a goal, the issue of the relationship between the concept of the mosque and the philosophical discussion of technology can be raised, which opens a new window to understanding the relationship between Islam and architecture. Therefore, while creating a new possibility to include Islamic principles in the design of the mosque, in terms of preventing religious distortions in the mosque and other religious spaces, it can also lead to a more effective approach. In this study, among the five architectural connections as a means of presence, the background connection of the most compatible situation with the Islamic requirements in the field of the mosque is advanced, the design consequences of which should be examined more carefully in the future.

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