In recent decades, Iranian vernacular architecture has defined the local architectural identity by demonstrating distinctive characteristics. Defining such a critical role for vernacular studies has led to different approaches in the design of the contemporary architecture of Iran. The first approach of integrating vernacular and contemporary designs has focused on local people, their needs, local construction, and building materials. The revival of vernacular architectural design and building elements has been at the forefront of this approach in Iran. However, recent use in Iran has concentrated on the symbolic/abstract reuse of vernacular building forms. Vernacular architecture is known to merely provide for the functional requirements of buildings, and not for aesthetic purposes. Conversely, in the second approach, vernacular building elements are considered to be symbols of local identity. This paper will argue that although the symbolic reuse of vernacular features may not uphold the functional expectations of the vernacular form, this reuse is useful in reviving architectural identity. In addition, underscoring such a different role for vernacular building features in contemporary architecture might help to expand the realm of vernacular studies. Thus, the purpose of this paper is to provide an overview of the conversion of vernacular architecture in Iran by focusing on the instance of wind-catchers. Wind-catchers typically were used in residential buildings and are considered potent symbols of climate adaptation. In contemporary architecture, however, a form of wind-catcher has been used as a symbol for local architectural identity. Through this transformation, the essential nature of the wind-catcher has found new life in the contemporary architecture of Iran.

Recent efforts dedicated to the further development of tourism have significantly increased awareness and boasted the economic growth of Iran. Accordingly, Eslami Island project aimed at advancing the regional and national tourism. Regional identity was the key factor in the design process for Eslami island tourism developments, meeting its obligation as a sustainable system. This article explores the importance of ‘regional identity’, and its’ use to regenerates the project, thus portraying other principles of sustainable tourism

This study examines the symbolic use of stone beyond its basic function as a construction material in architecture. It investigates the meaning of stone using Iraqi Kurdistan residential architecture as a case study. The theoretical framework of the study is developed through the content analysis method, by applying Hershberger’s basic model of meaning, and by exploring Krampen’s writings on semiotics in architecture. The relevant theoretical framework was tested through systematic physical observation of selected houses in Iraqi Kurdistan and by using the inductive reasoning method. The study recognises that stone, beyond being a construction material, conveys the symbolic meaning of “power,” “wealth,” and “belonging” in contemporary houses of Iraqi Kurdistan. Based on that, a meaningful situation model was created to evaluate the phenomenon. The model can also be useful in analysing similar cases and research situations.

This study aims to provide a perspective on the symbolic characteristics of oil cities by focusing on the example of the first oil city in the Middle East, Masjed Soleyman city. Studies of oil cities are generally based on their industrial characteristics rather than their symbolic meanings. However, since oil became a distinctive symbol in the Middle East, these cities need to be examined from an altered perspective. Therefore, the present study analyses the urban context of Masjed Soleyman city based on four concepts of “city as overall sign”, “image of city”, “language of city” and “interpretation/communication” as well as the derived indicators from each concept. It is concluded that given the critical importance of oil at both the national and international levels, oil production was arguably maintained or sustained by various treatments of this city's inhabitants. In the process of exploring this ancient city, the study portrays that Masjed Soleyman characteristically symbolises control, social segregation and surveillance.

Mosques are considered some of the most influential buildings in Islamic architecture, which had a direct impact on Muslim culture. Despite many studies on mosques, to date few have focused on the symbolic meaning of colour and its communicative role in traditional Islamic mosques. Therefore, by limiting this study to Safavid and Ottoman mosques, this research investigates the similarities and differences between the symbolic meanings of colour in traditional mosques in these two periods. To the end, content analysis method is used as the primary mean to review and analyse the collected data from the existing literature about the meaning of colours in four samples: Shah (Imam) and Sheikh Lotfollah Mosques from the Safavid period, and Sultan Ahmed and Sehzadeh mosques from the Ottoman period. The results show that some colours such as green and yellow have similar meanings in both periods; colours like red and black, however, have different connotations.

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.