romantic Movement is one of the most important movements of the early 19th century in European art and architecture. It had a definite impact on the formation of the architecture of the 19th century and the architecture of the modern era in Europe. This movement came to Iran by intellectuals, western (such as Godard) and Iranian architects, who had studied in European universities, in late Qajar and early Pahlavi era. The observation of some of the Contemporary architectural works in Iran, which have evidently been under the influence of some of the stylistic tendencies of this movement, shows the entry of this western artistic movement into the Iranian Contemporary architecture in Pahlavi period. But there are a few researches about the start and influences of this movement and its impacts on Iranian Contemporary architecture. Generally in these few studies, two deficiencies are quite sensible. First, none of them could explain that based on what evidences the style of a building is romantic? And also how do we could predicate the Romanticism to the style of a building? And Second Most of these researches have studied the buildings which were made on first Pahlavi period whereas there are also many examples of this style on second Pahlavi era which have not been much discussion about them. Therefore this research first tries to answer this question that why we tell Romantic to the style of a building? And then tries to come close to a new stylistics of this western architectural movement in Iranian Contemporary architecture with the help of comparative analysis of the Romantic architectural tendencies and it is social contexts in the west and a logical comparison of them in Iran. Also in the pursuit of this objective, this research will probe the possibility of classification of different branch of this style in the Iranian Contemporary architecture with emphasizing to second Pahlavi era. In order to gain the objectives of this research, we will at first study and critique the opinions of the critics in recognition of the style and stylistic specifications of Romanticism in the backdrop of its formation and then we will classify different branch of this movement in the Iranian Contemporary architecture by reviewing the examples of architecture influenced by this movement in Iran. At the end, this research will show that Iranian Romanticism is not exactly such as European Romanticism. It is only similar to that movement in some important contents. It also will show that there are three important sub-category of Romantic Movement in the architecture of the second Pahlaviera in Iranian Contemporary architecture. These three sub-categories are respectively: vernacular architecture, traditionalism and historicism. Although these three sub- categories have a little difference in the stylistic analyses but they can be considered parts of the Romantic vast movement because all of them with taking advantages of the properties and values of Iranian vernacular and local architecture have resisted against the spread and absolute acceptance of modern architecture in Iranian Contemporary architecture.

Geometry is considered one of the fundamental structures of Iranian traditional art and architecture, and some of its displays can be seen in most of fine ancient works. Studying geometry, as one of the main fields of Iranian art and architecture, is of more importance when it comes to the word of architecture, as it seems impossible to define it without relying on geometry. architecture has been founded on "construction" as it is necessary to utilize accurate geometry and order; and in architecture, Order and planning are manifested as geometry. In other words, the basic factor that makes different parts of architecture united is nothing but geometry, and through this uniting and coordination between parts of architecture culture the survival and endurance of that culture becomes possible. In general, order and geometric plan assists the designer to predict the course of the plan and design. Not only the Iranian traditional architecture works from the ancient times to the Islamic era have been relied upon the geometric principles, but also the Contemporary architecture is based on such principles. This study is concentrated on the exact recognition of geometric principles, intellectual roots and theoretical basics of Iranian traditional architecture in addition to the analysis of the advent of such items in the Contemporary architecture. The main aim of this research is to recognize the geometric principles of the traditional architecture and its application in the Contemporary architecture. In other words, we aim to answer to the question, what are the geometric principles of the traditional architecture and how is the manifestation of such principles in the Contemporary architecture? The results show that the use of geometric order in the plan, along with the application of hidden geometry and creation of geometric understanding through the static sense have been more applied in the Contemporary architecture compared to other characteristics of Iranian traditional architecture and the traditional architecture archetypes and motives have always attracted Contemporary architects.

architecture as a socio-cultural matter has a lot to do with past as well as future. Therefore Contemporary architecture is a matter of tradition as well as modernity. It is implicit and what we know about Contemporary architecture is a result of what we have learnt from traditional architecture, architectural heritage and what were written about architectural monuments; while it is a catalyst to lead to a prosperous future. It is understandable that traditional architecture of Iran is a collection of talented designers who crafted these notable monuments and valuable buildings which survived through centuries and became a part of human history, intangible traditions and tangible international heritage. ICOMOS and UNESCO do lots of researches and development plans to safeguard traditional architectural monuments or natural heritage sites which have roots in past and let us know about their values and functions. To complete this task, Docomomo International (International Working Party for Documentation and Conservation of Buildings, Sites and Neighborhoods of the Modern Movement) as an international body, is to respect Contemporary architecture, sites and monuments. Moreover there are some Contemporary buildings which are listed in World Heritage List because of their distinctiveness, uniqueness and singularity. Literature review of the paper shows that “future legacy” plays a significant role in describing future architecture. Theoretical Framework of the paper is based on interaction of architectural performance and architectural monumentality in search for future architecture as a mean to meet future legacy in architecture. High-performance architecture might be recognized through following framework: I- architecture: 1- distinguished architect, 2- uniqueness in architectural design, 3- high-technology and 4- uses and activity.II- Architectural Design Process: 1- client, 2- building codes and legislation, 3- public popularity and 4- Socio-cultural landscape.III- Programming and Planning: 1- team work and multi-disciplinary approach, 2- participatory, 3- flexibility and 4- comprehensive character.Based on proposed framework, a building might be recognized as a high-performance building, and then it might be seen as a candidate to become a “Legacy architecture”. This paper aims to analyze and study Contemporary Iranian architecture regarding to architectural performance in order to outdraw the silhouette of Contemporary Iranian architecture and its relations to future legacy. The most important questions of the research are: 1- What is the framework of understanding performance of architectural monuments and level of their prosperity to become a legacy for future? 2- Which buildings in Contemporary Iranian architecture might be seen as a future legacy in architecture? The methodology of the paper is based on quantitative as well qualitative approach. The selected methodology is to examine a theory – interaction of high-performance architecture and future legacy in architecture. The main frames of the paper are Contemporary Iranian architectures from 1916 till 2016, as case studies. In order to answer the research question, two hundred of famous Contemporary Iranian buildings and complexes which were built in 1916 until 2016 were selected purposely regarding to snowball sampling (chain-referral sampling). The results were strong enough to satisfy possible disadvantages such as community bias, non-random, anchoring, unknown sampling population size (while the samples were decreased from 204 to 200 in order to better categorization). The cases were examined to understand the level performance while they were known as a sample of high-performance architecture and their chance to become future legacy. The results of the paper show that some intervening issues like building owners, regularities and design guidelines, civic infrastructures and technical issues influence the level architectural performance. Quantitative analysis indicates that there are fifteen Contemporary architectural monuments those who have opportunity to be called high-performance architecture and might be seen as close candidate of future legacy in architecture. It is demanded from recent generation to leave valuable legacy behind. The buildings which earn higher ranking in the examined list are those whish enjoy creative, timeless, exceptional, contextual, contemplative, mindful and meaningful design. The results confirm the desire and commitment to meet high-quality design in Contemporary Iranian architecture to provide socio-culturally responsible buildings and to earn a world-wide reputation while other trends are such as temporary architecture, popular architecture, fashion design and signatory architecture do their business in recent decades as well. Success of Contemporary Iranian architecture has been recognized with several regional and international awards.

Background and Objectives: The positive position of space, or in other words, space-axial against a volumetric viewpoint, is one of the key aspects of Iranian architecture. In this regard, transparency is considered one of the principles and fundamentals and among the special and fundamental qualities in the spatial structure of Iranian architecture. Based on this, some Contemporary Iranian architects have tried to make it visible and realizable and have continued it based on these principles and the inspirations from the eternal works of this land. Relying on the importance of addressing this indicator, the aim of this research is to measure the application of the transparency concept and how it manifests itself in the physical elements and spatial structures of Contemporary Iranian architecture. Accordingly, in the current research, the way of realizing transparency in the Contemporary architecture of Iran and the extent and quality of its emergence and development have been questioned and discussed. In order to examine this issue in detail, two cultural centers in the Contemporary period that have paid attention to the formal and semantic aspects of Iran’s past architecture have been selected to be analyzed and measured in terms of transparency. The current research started with the hypothesis that the examination of the way transparency is represented in the two buildings of Dezful and Isfahan cultural centers reveals the differences and similarities that can be effective in enriching the Contemporary architecture of Iran. Therefore, research questions about the quality of transparency in these two buildings are proposed and lead to measures to make the space transparent in Contemporary Iranian architecture: Which physical elements and spatial structures have been used by each of the two cultural center buildings of Dezful and Isfahan and how to create transparency? What are the differences and similarities between the transparency appearance in these two buildings? Methods: The current research has used two quantitative and qualitative strategies. So, the descriptive-analytical and analogical, and logical reasoning methods, as well as bibliographic and document studies, have been used to collect and analyze data. In order to investigate the transparency issue in Contemporary Iranian architecture, the main factors that create transparency in architecture were extracted from the existing theories. Then, these components were categorized into four subsections containing the main indicators of spatial transparency. The reason for choosing Dezful Cinema Cultural Center and Isfahan International Cultural Center among existing Contemporary cultural centers is the architect’s exceptional attention to the use of Iranian architectural elements and techniques. In order to perform a quantitative analysis using Agraph software, Justified Plan Graphs were first drawn from the floor plans. Since the amount of visible area at any point of the space is an important indicator in evaluating the transparency level, UCL Depthmap software was used to measure this component. In the final stage, each of the four indicators of the transparency concept was measured and concluded with a quantitative analysis of syntactic indicators. Findings: Four syntactic factors of visual cone, spatial integration, connection, and depth were selected to evaluate the degree of transparency. Spatial connectivity and depth, as well as the number of spaces, were analyzed in Agraph software, and two factors of visual accessibility (Isovist) and spatial integration were analyzed and interpreted in Depthmap software. In Dezful Cultural Center, the location of the main volume of the building in the depth of the ground and the externally blocked walls have minimized the continuity and sequence of the internal and external areas of the building. While in Isfahan Cultural Center, the division of the plan into two inward and outward parts has maximized the visual transparency and continuity and sequence of inside and outside in half of the building. In the Dezful building, the depth indicator showed that despite the hierarchy and the distance of the spaces from the external area, the location of open and semi-open internal distributable spaces is in the points that created the continuity and sequence of the internal areas at great depths from the building’s entrance. In the Isfahan building, the low number of depth indicators for most spaces means more integration in the interior space. The comparison of the number of spaces in the two Dezful and Isfahan buildings, and its ratio to the maximum depth in the plan, shows that although there is a significant relationship between the number of spaces and the amount of integration, the presence of a large number of spaces in a slight depth can moderate the effect of high spatial multiplicity on integration reduction. The numerical and figural comparison of the local integration and the maximum and minimum values clearly shows the important role of the inter-space in spatial integration and transparency. Conclusion: In this research, the results were obtained after analyzing the criteria related to the transparency of the spatial structure, including spatial openness, integration and overlap, continuity and sequence, and spatial coherence using the tools of depth, number of spaces, connection, visual cone, and integration. Transparency, in general, is observed in both buildings with the use of relatively similar measures. However, there are differences in how this transparency is created and its amount, which is caused by the difference in how these elements and spatial structures are used. In general, the measures adopted in the physical elements and spatial structures of Isfahan Cultural Center have mainly led to visual transparency. In Dezful Cultural Center, physical and mental transparency has emerged more than visual transparency.

Technology has had many influences on the Iranian society in different eras. Today, information and telecommunication technologies have revolutionized the basic structures of society and a new network society has been propagated inside the traditional and semi-modern context. In countries like Iran, which are in the process of modernization, a chaos deriving from the transition period is observed that leads to a certain peculiarity. In this transition era the norms of traditional societies, which offer discipline for these societies, have been eliminated in favor of new norms that are not codified yet. The transformation to the new situation and also the confrontation with the electronic world has instigated many disorders and anomalies in the society, with its physical expression becoming visible in Contemporary architecture. Today, Iranian architecture is affected by Kitsch Art and has become superficial. Using attractive visual capsules and exploiting the human habit of imitation, information viruses have spread everywhere and have changed the physical world dramatically. The propagation of networks has made this process even faster. This paper reviews the confrontation of Iranian architecture with the electronic realm and investigates the role of visual viruses in the formation of the physical fabric of Tehran. It is argued that in the future, emphasis on design supported by collective intelligence [1] and individual creativity can decrease physical anomalies in the built environment.

This research is going to explore methods of utilizing nature in architecture and use them to evaluate naturalism of the samples of Iranian Contemporary architecture, both qualitatively and quantitatively. The use of various aspects of the nature in Iranian Contemporary architecture is less than the past. So the main questions in this research are: "Which methods of utilizing nature have influenced on the artistic works of Iranian Contemporary architecture?", and "How and how much are these influences? " In the research process, descriptive-analytic techniques are used. First, the theoretical literature was studied using the archival methods, and then the methods of utilizing nature as evaluation criteria were extracted. Next, using surveying methods, characteristics of case studies were analyzed and their quantitative and qualitative effects were presented. Research results indicated that conceptual, scenery and material techniques have been the most used in the public buildings of Iranian Contemporary architecture, and formal, functional and spatial techniques have been neglected. The conclusion is that naturalism has always been on the focal attention in Contemporary Iranian architects design process, but there is lack of Iranian architects’ effort to create works that nature is present comprehensively in them. On the other hand, public buildings are architectural patterns of every country, and utilizing the above methods in making such buildings can help to improve the quality of architecture in the country.

The use of demands such as "Iranian-Islamic architecture" or "preservation of Iranian-Islamic identities" appeared in different dimensions and have gradually caused the shape of Contemporary Iranian architecture. Many criticisms have been made from various perspectives on the architectural conditions, despite, all of them are worthy of attention, it seems that a required issue has been neglected in all these s tudies, which is having a proper classification in a morphological and meaningful format. In this article, an attempt has been made to introduce in a suitable classification in the form of the Iranian architectural process and its challenges and subbranches of each of the researchers' views. In this regard, we have used a research method based on critical discourse in a library and field method, which has been saturated with information by examining the maximum number of available samples, and finally, we have analyzed it. Then, all the s tudies were evaluated, both in terms of time and in terms of checking the buildings in tables and graphs. The results of this article include a his torical proposed course with a morphological and semantic classification in Contemporary Iranian architecture and finally, among them, the s tyle according to the current situation is more logical and more Iranian was introduced that can provide the prelude to artis tic s tylis tics for Contemporary Iranian architecture.

Today, mass media act like a magic mirror, not only reflecting the reality of societies, but also projecting a variety of images onto people’s thoughts. Because of this great ability to produce, reproduce and disperse images, mass media have acquired considerable influence on people’s lives. Among the different media, the television in particular has become an inseparable part of most Iranian households. Within the various programs offered, television series stand out from the rest because they are presented incrementally and over a longer period of time, and therefore, attracting large, faithful audiences who continuously absorb their visual communication. This paper traces people’s conception of richness, luxury and quality in architecture by examining its representation in recent Iranian TV series. It uses a qualitative research methodology based on theoretical cross-examination, critical analysis and thematic comparison of Iranian homes, particularly houses belonging to the wealthy with enough financial means to facilitate quality and creativity in architecture. By analyzing the architectural characteristics of these buildings, this paper concludes that a particularly superficial definition of richness in architecture is gaining popularity, which results in architectural characteristics that are entirely foreign to the rich cultural and architectural traditions of Iran. The consequence is a loss of identity in which everyone is responsible for: from the wealthy clients who desire such imported opulence, to the architects who succumb to such desire, and finally the public that accepts it all. In this context, the media acts like a mirror, reflecting and therefore doubling the effect of these events.

The dualism of creativity and innovation versus impressionable, linkage and kinship among works have always been debated in art and architecture, especially after modernity. This research attempts to express the process of intertextuality and describes that architecture is not only created by relying on the ingenuity and dominance of the originality of the idea of the architect and not created suddenly, but it is created by instinctive fascination with the experience, method, effect and other tools of the artists. The architecture of adaptation and reading is broad; it is heterogeneous and never-ending in the works of others, and always in dialogue with another. In the process of intertextuality, our effort is to search for similarities and analogies of architectural works which should be attributed to the human desire to finding ancestry and origin, genealogy, and the term "kinship myth". Research is based on the defense of the hypothesis that architecture is a kind of discourse that speaks of the interconnectedness and kinship between works as opposed to the hegemony of singularity and uniqueness of the work. It is in the criticism of traditional critique that, in the body of their criticism, they attribute the value of the work to the originality of the idea and the product of its creator creative mind, and some works are downgraded to the level of a copy of the other works. But in the intertextual approach, no other text is merely unique, and it is certainly formed in the dialogue between the layers of the artist's mind and one or more previous texts. Research is applied in nature and relies on analytical-interpretive method. The extracted data were analyzed based on logical reasoning, the results of which are presented in graphs. The nature of research is an applied research and relies on the analytical-interpretive method. The extracted data were analyzed based on logical reasoning, the results of which are presented in graphs. Using the intertextual interpretive approach, the analysis of authentic opinions is focused on the concept of intertextual reading, and finally, several works of Iranian architecture are presented in order to recognize the reading and creating of intertextual architecture.