The current study aims to consider the important thoughts about regionalism in architecture, its categories, in general, and “regionalism now”, in particular, from Tzonis and Lefaivre’s perspectives. We have been motivated by the last chapter of their book, Architecture of Regionalism in the Age Globalization: Peaks and Valleys in the Flat World, in the conceptual shift to an identical and cultural landscape, in addition to economical and specially, ecological aspects over the past two decades. Thus, it presents a re-reading of regionalism from a wider inclusive framework. This paper argues that critical regionalist architecture has entered a new stage in its evolutionary process. In this context, the main goal of this paper is to develop a set of criteria that will act as a tool for identifying “Regionalism Now”. Methodologically, based on qualitative content analysis and inductive logic, these criteria can be classified to achieve a comprehensive model. The new trends in critical regionalism move toward the concept of sustainable development. Sustainability which has been raised in the last decades of twentieth century has been coincided with “regionalism”. This concept addresses the negative environmental and social impacts of structure by utilizing design methods, materials, energy and development spaces that are not detrimental to the region ecosystem or communities. The philosophy is to ensure that the actions taken today do not have negative consequences for future generations and comply with the principles of social, economic and ecological sustainability of architectural practice. پرونده مقاله

Religious buildings are the outstanding visualized symbols of devotion in the religious realm of belief and values which they are derived from. Hence, planners and artists have devoted the extent of their creativity - fearless and bountiful - to the enrichment of these monuments. These buildings as well as their architectural, artistic, structural and historical function also have communicative functions. Extent of message, variety of targets and types of arts has increased the importance of this function. Takaya were mostly used for religious ceremonies and religious-dramatic rites. This art is recently declining due to the lack of a permanent place for performance. Accordingly, this study addresses the morphological recognition of Takaya as a vital continuum through architectural and urban aspects and explores the necessity of its resurrection regarding the cultural requirements. This research has a qualitative nature and its type, concerning the conclusion, is applied; the method of data collection is documental- field and its reasoning method is cross sectional (analytical) descriptive. The findings show that Takaya, regarding their existence in context of a belief destiny of a city, have always has been a symbol of efficiency from the architectural potentials for strengthening the religious values system. Takaya because of their special structural functional semantic system, beside other places of same function in other countries, are considered a distinguished identity. Meanwhile as the only open spaces with the function of strengthening and consolidation of rituals in Muslim’s architecture and urban culture, own high credibility. پرونده مقاله