No abstract

The history of transparency in architecture demonstrates a long relationship between glass and architecture. Transparent glass architecture has become one of the significant characteristics of 20th century. It has been one of the materials, which were used extensively in construction; and caused a significant change in the built environment, specifically in the 21st century. Nowadays, glass can be seen as one of the basic materials used in contemporary buildings. The usage of glass in architecture, specifically in public buildings, has increased during the recent few decades, and this trend is still continuing. In addition, Modern architecture has grown rapidly around the world and it has been investigated from various aspects. However, relationship between architectural meaning and modern architecture has been one of the less investigated issues. Therefore, despite the many benefits of transparent architecture, looking for meaning is one of the important factors that need to be investigated. Since search for meaning has been one of the challenging issues for contemporary architecture, the purpose of this study is to find the link between transparent architecture and symbolic meaning in contemporary architecture to recognize how it is possible to bring these two together. To achieve this aim, the research method in this study consists of combination of quantitative and qualitative research methods, besides; literature review has been analyzed based on "content analysis method". Under this scope, three famous transparent buildings in London have been selected as sample study. To compare and verify symbolic meaning of transparent buildings, in sample study, paper focused on recent transparent buildings in Famagusta. Accordingly, an interesting and arguable finding is that symbolism is interpreted differently by everyone and therefore it is a matter of view point. Although in general transparent architecture is symbol of modernity, but according to user's viewpoints there is different symbolic meaning for each transparent building. This finding is a proof to this important issue that people need to have meaningful built environment, so they even assign meaning for buildings.

The arrival of modernization has had an adverse effect on current Iranian housing architecture; as such, that it is now finds itself in a difficult predicament. Therefore, various national architectural conferences, in addition to individual investigations, have been focused on the renewal of Iranian housing architecture over recent decades. Whilst these examples have not culminated or resulted in defining a clear Iranian trend and style in housing with recognizable characteristics, it would be useful to explore some of the more successful examples in order to obtain an overview of what has been done in Iran in this respect during recent years. Accordingly, the study has focused on identifying the architectural characteristics of Iranian houses, which have been modified and used in the present designs. In this study, through a comparative typological analysis of the different traditional Iranian housing types, their main characteristics have been categorized. The categorization later applied for the analysis of the contemporary houses designs. The results of this investigation have shown that, in contemporary samples, although the idea of Iranian traditional houses has remained; the concept of traditional houses has been altered and changed.

In this paper, the ideologies of Shari‘ati and Foucault are used to signify and explore the characteristics of Iranian architecture during the Safavid period (1501–1722) with respect to symbolism regarding religion and power. This study focuses on the architecture of public buildings constructed during the Safavid era. These buildings reflect the Safavid rulers’ views of political power and religious beliefs. Applying the ideas of Shari‘ati and Foucault through a survey of Safavid architecture yields five characteristics common to Safavid public buildings: ‘light-floating buildings’, ‘horizontality’, ‘inward-outward flow’, ‘illusion’, and ‘contrast and dualism’. Each of these characteristics is symbolic of Safavid beliefs regarding religion and power.

No abstract