The period spanning middle of Qajar era to the first decade of Pahlavi is a part of Iran contemporary architecture which is influenced by inevitable alterations caused by modernity. Modern forms and figures have gradually changed spatial hierarchy of houses and their structure and consequently have led to a combinational style. A brief survey of spaces and chief elements of traditional houses of Sanandaj demonstrates these changes quite well. This paper tries to shed light on the prevalent style of spatial hierarchy of house entrances in transitional time period from tradition to modernity in Sanandaj. This research has been conducted using a theoretical approach and by a historical-interpretational method. In theoretical part, a qualitative approach is adopted and considering the literature history, effective factors on spatial quality evaluations are analyzed. The practical part of the research is carried out in two phases and by taking case studies under account. In this viewpoint, the theoretical part is firstly a brief appraisal of the architecture of the historical eras of Qajar and Pahlavi, evolution criteria and social revolutions of those periods as well. Moreover, assessment of houses based on historical periods has been done utilizing field studies, local survey, photography, house plan depicting and existing documents and plots. Secondly, based on acquired field and librarian information, all qualified houses for this research are compared and analyzed to attain a comprehensive understanding of their entrance spatial hierarchy. Findings of the research indicate that there has been a hierarchy in entrance of houses with traditional architecture pertinent to the needs of residents which is neglected to some extent by the designers in Pahlavi period. In conclusion it is admitted that by intermediate spaces, alongside the provision of confidentiality, it would be possible to achieve a proper definition of private and semi-private spaces in houses. Furthermore, disruption in functions and entities of other spaces could be avoided, which in turn leads to introducing a pattern for obtaining confidentiality; an inseparable principle of entity in Iranian architecture and culture.

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.

This article tends to review an aspect of Iranian architecture beyond abstract sciences. The spatial order was the same spiritual reality; the hidden pattern and sub pattern which apart from providing a comprehensive structure, explained and connected the experimental facts to metaphysical truths. This order compared to what we call a place was everywhere. It was a pattern that placed and disposed instead of being placed. As an applicable, the architecture, its imaginary conception and Eidos without paying attention to its output and sensibility is a waste of time. The spatial order as a chain that connected the sensible and insensible, was the organization and spatial arrangement which produced events and operations in which "Being" was acquired. An order which also provided dos and don'ts of life and movements pattern. This order reminds something more than functionalism. According to documents, Iranian architecture's spatial order was inspired by the spatial order of the universe. In this order it's not possible to separate part from the whole or the fixed from the changeable. Each portion was settled in a part of "Place" by its own real being. That's the reason this order has advantages such as vertical axis, being centripetal and directional and revealed the differences between parts by nature which leads to differences in places. The hierarchical order of creation caused that in the spatial order of Iranian architecture, spaces and access to them were settled according to their importance and hierarchical concept. And it had two other parts the centripetal and vertical axis spatial order. The centripetal spatial order arranged spaces around a covered or uncovered center and the vertical axis spatial order settled spaces around a vertical axis. The spatial order presents different shapes after defining sensible aspects and architectural structure. I use this opportunity to define, seven concepts in a particular structure, in order to explain truths about the spatial order of Iranian architecture compared to modem architecture which relies completely on the scientific mind of its compiler. 1- Reviewing beyond description: in reviewing valued ancient architecture one should listen to the speech of that architecture. In other words we should let them whisper to our soul. 2-Spatial order beyond function: this order brings about asylums through which we get the opportunity to create different function. 3- Hierarchical beyond border: this order tries to elevate from the horizons of mere living and material being to a higher rank in hyperphysical being. 4-direction beyond axis: In this order choosing direction by measure character of the building leads to non-measure character which is different to what we know as axis in modern architecture. 5-Vertical axis beyond height: the structure of vertical axis in this order presents Divine way which takes place in a particular space in the place. It is different to abstract height. 6-Centripital beyond centre: In this order the center from which the creation has begun can polarize spaces around itself. This centre is different to what we call geometrical entre. 7-Ascension beyond movement: In the Iranian architecture spatial order, being centripetal and having vertical axis explains the moment of union and solitude. A trip to learn about existence independent from physical movements. Provoking such feelings and qualities is among highest values of Iranian architecture.

The architectural layout design is a well-known algorithmic problem in computer-aided architectural design. It is the assignment of discrete space elements to their corresponding locations while attempting to satisfy geometrical and topological goals in their layout. This task requires maintaining consistency to ensure that the requirements are met and is exploratory and iterative in nature. The complexity of this problem has encouraged researchers to explore computational approaches for predicting the space layouts. This activity, takes place during the preliminary design phase and is highly significant, as it impacts later stages of the building lifecycle. Therefore, these methods has the potential to enhance the effectiveness and efficiency of spatial layout in design and suggested to make the work of architects easier and faster. Numerous methods have been proposed to solve the space layout design problem. Each one can be viewed as a rule-based strategy that attempts to simulate space layout design using some high-level rules. However, for producing space layout designs, in addition to the quantitative criteria that may be tested and assessed in a logical process, numerous non-quantitative elements also exist. These qualitative criteria are frequently based on a variety of factors and are challenging to describe; thus, hard-coding them would not be possible or effective. It would be best if the program could learn these rules from existing examples. Some potential solutions can be found in the rapidly expanding field of machine learning, which can serve as a tool for decision-making. Deep learning, a subfield of machine learning, can adaptively achieve goals by learning from data and interpreting experiences. The generative adversarial network (GAN), is a deep learning algorithm that has shown remarkable outcomes in the development of 2D designs. In this paper, GAN is applied to generate automated space layouts with given boundaries. A specialized training dataset, comprising 660 existing apartment layouts from Hamadan, is prepared, with each layout labelled using different colours to represent various spaces for training the model. After the model is trained, the boundary lines of 12 new apartments are tested. The performance of the model is also evaluated using two methods: the pixel accuracy measure as the quantitative method and a qualitative assessment by an expert architect based on the evaluation criteria. The results show that the proposed model successfully generates space layout plans from predefined boundaries. This issue indicates its potential for application in other cases and designs. We propose this model as a tool to facilitate the architectural layout design process, enabling architects to quickly and precisely meet client requests particularly in the projects with complex topological constraints.

New century, entering the digital age, puts museums in a different life cycle. Most museums in Iran are simply protective and unsophisticated spaces which is an influential factor in the low number of museum visitors. The first step in the revival of Iranian museums and the establishment of new ones is to achieve modern applied knowledge. Museums, as places with a great deal of narrative potentials, suffer numerous temporal, spatial, cultural, and social deficiencies. Narrative as a mediator helps audiences fill the gap in the museum environment. The present research aims to recognize the composition of the narrative and the atmosphere of the museum which plays an important role in providing a more successful understanding of the new museum spaces for visitors. The purpose of the present research is to understand how the audience interacts with the museum in the process of space perception, how visitors participate in the narrative of the museum's place, and finally to identify the influential factors through which the narrative improves the quality of museums' space. This research is based on the Grounded Theory method; theoretical studies, selection of case studies and finally field studies through deep interviewing were carried out. In the coding phase of the interviews, an international standard for documenting and controlling the concepts and information exchange in the cultural heritage and particularly museums has been used as the conceptual reference model. This model contributes to the promotion of a common understanding of cultural heritage by providing a common and widespread semantic framework. This standard illustrates the basic concepts of the subject and facilitates the integration, intermediation, and exchange of information and ultimately, as a common language, will be a guide to the conceptual modeling. In this research, we have defined a conceptual framework for each category and avoided repeating complex generalities. Holy Defense Museum, National Museum, and Carpet Museum have been selected as the study samples which are in line with the developments in modern museums and are often focused on a specific subject, with a variety of related collections. In the next step, the acquired codes through interviews were transmitted to the Protege software and analyzed using the extracted graphs and the secondary coding table. According to the analysis, three factors of place-time, object, and the subject can be considered as the main codes of understanding the narrative of spaces by the audience. The concept of place-time in art and architecture is meaningful in terms of movement within the space. Architecture can be traced as a physical entity and the audience grasps the various sequences of space by motion. Through the physical movement of the audience, the vastness and transparency of spaces cause the visual movement as well. Meanwhile, the mental movement is done by referring to the living body of the target audience. According to the results and the analysis carried out based on the frequency of codes on the museums' plan, the openness and broadness of spaces due to the visual polygon analysis play a significant role in perceiving the narrative of spaces by the audience. Museum objects are major parts of the cultural and natural heritage which reveal their narratives; each object has one or more stories and visitors make their narratives. Among the different manners of presentation, the possibility of touching the works and presenting them integrated with the space end in a more durable memory in the interpretation of the audience from the museums’ narration. Through blurring the border between the work and visitors, they perceive the narrative of space using their physical presence.

Nowadays, a large number of problems can be seen in Iranian architecture; however, the studies in this area are not deep enough and just investigate the current constructions and spaces, while there is a lack of fundamental research regarding teaching and learning techniques in architecture schools. It should be considered that teaching is the most crucial issue and the underlying factor for all problems and developments. Thus, this paper and the similar ones are hoped to indicate the ending of common architecture research methods and to draw the attention of teachers and scholars to teaching. The capacity of understanding space and volume is one of the most important capabilities in architecture, which has to be developed in architecture teaching. Over the past few decades, a large number of studies have been carried out about different aspects of spatial capacity, developing it is research. Considering the beneficial impacts of students’ spatial capacity enhancement on understanding spaces and volumes, this paper aims to evaluate the effectiveness of one of the core coursed in bachelor’ s level on improving spatial capacity. Therefore, the key question is whether practical geometry teaching based on the conventional method can meet the requirements of the High Council of Cultural Revolution’ s directive, which is rising students’ spatial capacity, or not. In an attempt to answer such a question, the appropriate concepts and theories were collected via reviewing the former studies on spatial capacity and the impact of descriptive geometry (as the inextricable part of practical geometry). In order to achieve the most accurate results, according to two subcategories of spatial capacity, two tests were chosen and were conducted using a quasi-experimental and pretest-posttest design with control group at two universities in two different educational programs. The test outcomes showed that practical geometry course not only could not increase the students’ spatial capacity, but also significantly decreased it in both groups. This happened while the data from the control group indicated a baseless increase in the students’ spatial capacity. One of the plausible reasons for such results can be a change of strategy taken by the students for solving the spatial problems. This paper is, in turn, a warning for beginning of reviewing the contemporary traditions of architecture teaching. Many experiences of teachers and instructors show the necessity of leaving the architecture concepts on paper and beginning to touch the space by the students. However, lack of scientific and critical investigation using international methods have to be covered by researchers. This study is a quantitative one in which the amount of unanswered questions of spatial capacity tests has significantly increased. Arguments for finding qualitative reasons of this significant decrease in spatial capacity test performance were considered in ideas and strategies adopted by the students in solving spatial problems.

Nowadays, extracting knowledge from voluminous and distributed spatial data is a vital need and ultimate goal of spatial data community. In this regard, a number of spatial data mining methods and algorithms have been developed, but there are a number of reasons these methods could not be cover spatial data community requirements. Like early years of GIS development, collecting data on a repository is still applied for knowledge extraction. In adaption, interoperability and usability are two important issues that have been neglected in traditional knowledge extraction methods. To respond the requirements from knowledge perspective a set of Web service-based geographical knowledge extraction is necessary. The services required a technological infrastructure or framework to extract useful knowledge from the different and geographically distributed data sources. In order to overcome this challenges, a general Spatial Knowledge Infrastructure (SKI) proposed to facilitate knowledge extraction in distributed scenarios. The SKI is a widespread interoperable framework through which geographical/spatial knowledge is created, organized, shared, managed and used in many domains. It creates a mechanism to make the necessary processes of geographic knowledge with the highest efficiency and usability. SKI's primary goal is to combine Spatial Data Infrastructure (SDI), Spatial Web Services (SWS) and Spatial Data Mining (SDM) concepts to facilitate geographical knowledge extraction as a collection of services. With a combination of SDI, SWS and SDM concepts this study presents the nature of SKI, including definition, levels, components, and architecture.

Research Problem: The openness of space, visibility and legibility of interior spaces are the most important conditions for the design of commercial buildings, and in this regard, the fluid design of form and space in contemporary architecture is more in line with such use. From the beginning of the twentieth century, the continuity and visual and physical continuity of space occurred in the idea of "promenade architecture" and gradually, with the advancement of technology, it took the path of excellence. Research Question: Research questions about the quality of fluid space in these four buildings are designed and lead to measures of the quality of interior space in the structure of contemporary commercial buildings: What physical elements and spatial structures did each of the four commercial buildings under study use, and how did they use them to create the fluidity of space? What are the differences and similarities between the promenade architecture in these four buildings? Research Purposes: Relying on the importance of addressing this feature in the interaction and shopping functions, the purpose of this study is to assess how this feature appears in the physical elements and structure of contemporary commercial spaces in Iran and in this way emphasizes the factors involved in the promenade architecture idea. Research Method: Based on this, the present study investigates the issue in four contemporary commercial centers of Tehran (Arg Tajrish, Charso, Sam Pasdaran and Ava) and compares and critiques the spatial quality in the realization of this principle. It has used the space syntax technique to advance the analysis and drawing and interpreting diagrams and UCL Depthmap and Agraph software. Four promenade architectural features were inferred through a descriptive analytical method by reviewing the research literature. the analysis process after reviewing and selecting the relevant indicators in the space syntax theory, was followed by comparative and logical reasoning. Thus, using the output of indicators such as integration, relative symmetry, depth and connection, Axial analysis and Isovist, the subject of Promenade architecture in four subgroups: "dynamics-continuity-integrity", "axis-end-sequence", "staging-Chain-integrity" and "fluidity-openness-totality" were evaluated in the study buildings. The Most Important Results and Conclusion: The results showed that various measures are effective in creating formal / spatial fluidity and words representing the promenade architecture. How these words are expressed in the study buildings reveals differences and similarities that recognizing their positive and negative results will help to correct the function and space design of contemporary designs.

In the steel industry, accurate and rapid detection of surface defects plays a vital role in ensuring product quality and reducing waste. However, the visual similarity between texture patterns and the complexity of defective regions limit the effectiveness of conventional machine vision methods. In this study, a multimodal hybrid framework is proposed for the detection and classification of steel surface defects. The proposed model integrates the region-based detection capability of Faster R-CNN with the semantic representations of CLIP, connected through a multi-head attention module that jointly models the relationship between visual and conceptual features. This synergy enhances the accuracy in detecting small and scattered defects and improves class separability in the feature space. The architecture employs three complementary loss functions — region detection loss, region–text alignment loss, and image-level loss — to enable simultaneous learning of spatial and semantic information. Experimental results on the NEU-DET benchmark dataset demonstrate that the proposed model achieves 100% accuracy in image-level classification and 78.04% mAP@50 in region-level detection. These promising results indicate that CLIP-based multimodal learning can significantly enhance the accuracy and robustness of defect detection in real industrial environments