Since man has been engaged in architecture, he has paid attention to the spiritual, inner needs and Aesthetics sense too. Today, in architecture, Aesthetics is limited to formal secondary factors due to lack of the systematic and applied explanation, while this concept has a more definition and is closely related to structure, details of construction, audience and environment. Iranian architecture that has manifested Aesthetics over many years age, has been a rich source for adapting the principles of Aesthetics in architecture. Quantitative and qualitative foundations in traditional architecture, which are related to the Aesthetics and visual principles set on structure and proportions, lead to Aesthetics appearance. Accordingly This research tries to answer the question: how are Aesthetics principles engaged in Iranian architecture in order to utilizing them in contemporary architecture. The analysis of the houses was carried out in Mashhad because of its historical background, which was a rich source of Architectural works. In this research, current findings of different schools and philosophers viewpoints about Aesthetics were collected next analyzed and Interpreted with content analysis method which they formed the criteria of analysis. Using the documentations, 10 types of Mashhad historical houses were analyzed with Aesthetics factors, all of them were belonged to Qajar period. In this analysis, according to Architectural changes affected from historical conditions (Qajar period), the spatial & structural principles of the houses belonged to the first period and the beginning of the second period were conformed with Aesthetics criteria. While the houses belonged to second Qajar period, they included elements as sloping roofs, and issues like: having less application of the symmetry and proportionality in the plan & faç ade, and more extravagance, which is a conception of Western architecture and doesn’ t fit to regional culture and climate.

Like literature, architecture has a bond with symbols, mysteries, metaphors, mystical concepts, socio-cultural mentalities and etc. and like literature is considered one of the most outstanding displays of the culture and thoughts of nations in different periods. In fact, words, elements and idioms in architecture are considered as one of the inspiring, artistic and array making tools for poets and writers. Extracting, studying and assessing buildings that are mentioned in poetry and writings of Persian literature, helps to know the Architectural styles of different periods and to illustrate the ambiguous parts of Islamic and Persian history of architecture to a large extent. The period under study in this article is the Timurid period which it's most important characteristic in its architecture, is related to the decoration of its buildings and in this view this period is considered to be one of the most important periods of Islamic architecture. On one hand results of this research are an indicator of the usage of decorations like “Muqarnas, plastering, engraving, calligraphy and inscription, goldsmithing, woodcarving and shamseh” in architecture in Timurid period, and on the other hand are an illustrator of the manner and amount of usage of these decorations in the creation of literary arrays in poetry of this period. This article is prepared using the library and interpretation and analyzation method. Surely literature is one of the most important resources of discovery and extraction of kinds of decoration used in architecture in different periods. and Architectural decorations are also considered one of the most beautifying tools in literary texts. So, study of important works of poetry and writing remaining from the Timurid period, especially Jami's poetry is very important in this view.

Problem statement: Aesthetics, an experience that manifests itself in various forms under different conditions, is primarily experimental. What appears pleasant in the built environment has always been contentious and ambiguous. It can vary in geographical, social, and cultural contexts depending on the type of relationship it has with human perceptions. However, Aesthetics has been overlooked in terms of users’ experience with an environment due to an overemphasis on its preferential nature, as well as obliviousness to sociocultural commonalities that lay the groundwork for subjective perceptions. As a result, some anomalies in Architectural design have come to light. The following questions arise in this regard: What factors influence the development of Architectural aesthetic experience from the standpoint of an ordinary user? What factors contribute significantly to the intensity of this experience? Research objective: The purpose of this paper is to explain Aesthetics and its criteria through users’ perceptions and lived experiences to revive their aesthetic feelings by translating them into effective components. Research method: This descriptive study employed the philosophical phenomenography of people’s lived experiences in buildings. It is also classified as interpretative-inductive research. Conclusion: Perceptual, motivational, sensorimotor, cognitive, behavioral, and emotional components all play important roles in the process of aesthetic perception from the user’s standpoint, resulting in the Architectural aesthetic experience. In fact, the role of each component in this experience is highlighted differently depending on the features of different buildings, which are distinguished by variable component priority and feedback. However, when all components in an experimental process play complementary roles, the experience can be maximized. Moreover, for this experience to be effective, the emotional component must be strong.

The reign of Buiids (322-448 AH) has been one of the most significant periods in the history of Iran in terms of culture and civilization. There are works left from this period that show the architecture of this period. A study of the nature of architecture of this period and its elements can reveal the course of architecture in Iran and its developments in this period. This research has been done based on a descriptive-analytical method and library information collection technique. The research findings indicate that in the Buiid period, the architecture of early Islam with the cultural changes of the Sassanid period and the use of cultural enhancements and social and religious perceptions had fundamental elements in the form of innovation. In a way that is both reminiscent of the past and expresses the phenomenon of diversity in the evolution of Iranian architecture. Early Islamic Architectural materials relying on environmental conditions include layers, clay, brick and stone. In most parts of Iran, the use of clay and earth has been constantly used from ancient times until now since the materials have always been ecological and were supplied from the same environment and surroundings. The beautifications of the early Islamic buildings rely on the decorations of earlier periods, in other words, they are a long historical painting, as it was used in the first prehistoric temples. In the Buiid period, there is a combination of architecture derived from Islamic culture and architecture left over from the ancient Iranian period, which can be reflected in the use of decorative motifs along with ancient Architectural materials.

Nature has Aesthetics of its own, what can provoke the human mind into better recognizing the concept of beauty via mental perception. As such, human mind can interact with the nonverbal expressions of nature only to better his/her primitive aesthetic knowledge and reach a more novel recognition of aestheticism via the practice of interpretative deduction. This article has been the result of a series of discussions and dialogues between the authors on the nature of aesthetic geotouring and exploring the natural phenomena based on the Dialectical Method of Socrates and modelled after the Platonic dialogues. The outcome of this dialectic study brings to light the fact that touring in nature through providing the due opportunity for mental perception of aesthetic phenomena can provide a clearer definition of ‘beauty’ in its rich variety. Aesthetic search as such will culminate in forming a more illuminated mental concept of beauty in mind, what can influence human rationale for aesthetic judgment and enrich even more the texture of human aesthetic creation. Such aesthetico-interpretative endeavor might lead to a higher potential for creating more original works of literature and art and culminate in a better judgment about such aesthetic creations.

Comparing phenomena is a way to know their different layers, as well as a way to discover new and hidden ones. By using analytical-comparative method, the present study investigates and compares mysticism and beauty. At first, the concept of beauty, the process of its creating and the way to understand it is examined. Then, some instances of beauty in Islamic mysticism are introduced. The study focuses more on the intuitive aspect of beauty associated with mysticism. The results show that according to Hegel, art is the recording of transient moments happening for artist in an impressionistic moment. In this way, the artist transforms the transient moment into a persistent and eternal one. Also, in Islamic mysticism, in an intuitive moment (which is the same as an impressionistic moment in Hegel's Aesthetics) the mystic observes the beauty of the celestial geometry in the loci of manifestations due to his/her constant attention to the Divine beauty. These manifestations include from the beauty of the human face in carnal love to the smallest particles of the universe.

By deepening the nature and the meaning of function in architecture and testing the Modernists' dictum "form follows function" through content analysis of modernist masters' statements, the research finds that there are some contradictions among the statements and unacceptable conclusions. It is suggested that although the Modernists' slogan is a major break through in Architectural normative theory it is not comprehensive enough in order to find a just relationship between form and function or between physical environment and human behavior and needs. The research findings reveal that the concept of functionalism is anchored with vast varieties of human characteristics and needs and potential affordances of physical environment and/or Architectural forms. The paper finds that it is necessary to revise the modernists' slogan. It finds that Modernist deterministic approach to the relationship between form and function is unacceptable. It selects a probabilistic approach and offers a new statement which can contribute to statements; the research finds that there are some contradictions among the statements and unacceptable conclusions. It is suggested that although the Modernists' slogan is a major the better understanding of the nature of form and function and their relationship in Architectural design and theory. Architects will be able to build theory based on their knowledge and practice to elevate Architectural and environmental quality.        

Aesthetics is a branch of philosophy that deals with the nature of beauty and taste as well as the philosophy of art. With the collapse of Christian theology in 12th and 13th century Europe, the tendency of society at that time to Aristotelian rationalism amplified. In the meantime, a Christian Saint named Thomas Aquinas attempted to promote the teachings of Christianity with Aristotelian rationalism in order to prevent the decline of Christianity. The current research, which was carried out in a descriptive-analytical manner, seeks to investigate the connection between religion and Aristotelian philosophy from the perspective of Thomas Aquinas and its influence on Italian architecture. Studies have shown that Thomas Aquinas transformed and completed Aristotle's philosophical thoughts within the framework of Christian teachings, and finally, he reconciled the Christian faith with Aristotle's philosophy. Aquinas make an attempt to create a rational and tangible face for the socio-political events of that time which arose from the practice of the church and its politics. According to Aristotle's philosophy, there are two actual (divine) and potential intellects. Relying on this philosophy of Aristotle, Aquinas knew that Christian religious teachings emerge from the actual intellect, that is, God, from which human rationality is an inspiration. In fact, Thomas Aquinas believed in two knowledge systems: the divine system based on faith and the philosophical system based on human reason. The Aesthetics of Italian architecture is divided into two categories: external (symbolic) and internal (identity). In the external domain, it is divided into factors such as light and color, and in the internal domain, it is distributed into factors such as religion and culture.