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Spatial continuity particularly continuity between inside and outside is a concept that man always was looking forward to express it in architecture. It is a trait for expanding a restricted area and relating the spaces to other adjacent spaces in order to have more physical-visual or intellectual-moral motions. Although the boundaries of spaces create spatial order and specify the quality of space, on the other hand, one another trait of architecture is continuity which leads to dynamism and motion. A continuous space is opposite to a closed and interrupted one, so in such spaces there is a spatial locomotion towards horizontal and vertical axis. These motions cause transparency and mobility towards the bulk of materials such as walls and columns in a way that the paths of moving or the directions of the sight are continuous. In the field of architectural expressions, continuity has several types and in this case, one of the categories can be noticed. This classification include four cases such as Historical, Cultural–social, Natural and Spatial continuity. Any of them has its definition, but in what follows, the spatial continuity will be described in detail. Spatial continuity can be studied in four states: First, the interior and exterior; in this case, besides the continuity makes perspective expansion, it inspires the concept of «being inside». The user requires both inside and outside spaces, and also the ability to move between these two spaces. Therefore, the architect should visualize and form inside and outside as a unit concept. Second case, between two interior spaces; flexible interior space, diversity and maximize capacity of space can be achieved in this way. Third, in an interior; this kind of continuity is more understood in a large enclosed space such as a church or a mosque. The fourth state, in the space outside the building; in open spaces or urban spaces can be observed. Any interior space may have continuation in six axes. Spatial continuity can be established through some architectural features, these factors include: Transparent layers; the most important factor to create continuity between two spaces. Transparency can be made by embedding the openings, doors and windows. Axis; axis represent the directions and correlate different elements to each other. In other words, axes connect spaces like a string. Although axes can be defined in various ways, two directions are often stronger than the others because the orientation of human kind is based on the horizontal and vertical direction. Rhythm and Repetition; the most important and most tangible factors that can represent spatial continuity are rhythm and repetition. Continuation and repetition are the basis of continuity. Continuation of surfaces; shared elements between the two spaces arouses a sense of continuity to the spectator. Continuity will be well understood when the surfaces of the floor, wall or ceiling of a space stretches to another space. Intermediate space; intermediate space (the third space) is one of the main factors of continuity and sequencing of architectural elements. Although this item separate two spaces, it causes the continuation without any separation between them. In each ancient and modern architecture, new methods can be observed, trying to show spatial continuity. In modern age, progress in technology and release of Classic principals (norms) caused the best type of continuity. Modern architects reduced the confliction of inside and outside and ignored the role of walls as separator elements by eliminating the boundaries of interior space. Modern architecture incorporated inside and outside to let them form one unique continuous space, without any difference between interior and exterior space. Spatial continuity in modern architecture: In modern architecture a continuous space is created by eliminating or neglecting the role of walls (separators). Therefore, there is no difference remains between inside and outside. The boundaries have become smooth, so visual continuity and accordingly, spatial continuity arises. In other words the walls lose their existence and permanency, the conflict of inside and outside is eliminated therefore the meaning of inside is weakened. The same as universal architecture, there are some rules in ancient Iranian architecture to represent spatial continuity, however mentioning the spiritual and moral sides of continuity. Iranian architectural space include three categories from the primitive time: closed, covered and open spaces. These three mainsubspaces define the whole space. Room, as a closed space, porch (Ivan) as a semi closed one and the yard as an open space. Iranian architects always try to track the continuity between these three items in their design process. They have attempted to pass the user through the space unimpeded, promoting the idea of transparency, lightness and spatial continuity, by reducing the bulk of mass and increasing the space. Iranian architectural space can be thought of as a wavy space. Conjunction with unlimited space is created through the light and perspective expansion, and space expansion between the components. Continuity through these spaces were shown spreading natural lights, and the extension of the sceneries and perspectives. Iranian architects tried to reduce the material mass of the building body in order to achieve transparency and spiritual lightness. In this essay we are intending to study the level of effect of traditional Iranian architecture on contemporary Iranian architecture and the level of effect of modern architecture on it, and finally we will make a comparison between them. For this review, a descriptive–analytic observation is set that the criteria of comparison are the factors of spatial continuity of Iranian and modern architecture. For each architectural Style, factors that represent continuity is listed, mentioning that any of these factors can be used in which state, relating the inside and outside. So this will assort results in a set of tables for each Style. A number of public buildings, built during 50 decade till now is selected for analyzing the factors in each group. Four of them will be expounded. At last the results can be observed in a detailed table, along with, a diagram represents the percentage of each factor’s participation in indicating spatial continuity in both Iranian and modern architecture.

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The Iranian architecture is one of the richest local architectural samples in the world that its achievements are undeniable. Features such as civility, autonomy, avoidance of absurdity and … were used as main branches in the architecture of ancient monuments. With advent of Islam and its spread in Iran, Iranian architecture was combined with values derived from religious and created the Iranian-Islamic rich architecture principles. In the historical monuments of Iranian cities including Boroujerd, it can be seen the application of Iranian-Islamic rich architecture such as harmony with nature, security, identity and … in that period. After decade 1300 and by opening the doors of Iran to the world countries, the western architecture entered in Iran and it has prevailed in competition with Islamic-Iranian architecture and after that, the Iranian buildings were built with western principles. The architecture that was very different with Islamic-Iranian culture and perhaps it was in conflict with it that its prominent sample can be seen in the contemporary houses including Maskan Mehr, a program which has been in the government agenda in order to provide house for low-income people.
In the last half-century, inter-family distinction has increased dramatically and its internal congruence has changed. in other hand, Urban growth and increasing middle class has increased External similarities in families. the terms as such as "middle class", "low-income group" etc are signs of "same view" viewpoint. In the West the family is known as an entity through which Most legitimate emotional and sexual relationship and wealth transfer are possible and includes parents and one or two children. Parents often work together and come home in the evenings and home is becoming dormitories. But in Iran, Families in both quality and quantity terms is more varied and multiple. Presence of children over 20 years old and relatives(Grandfather, grandmother and . . .) in a iranian home has very high possible.
Art and culture of this zone combined with new factors. Principles, customs, Religious Ceremonies, spirits, ethical, thoughts, and ideas of generations and other human features are presenting not only in massive buildings but in Small buildings, and is such entwined with the essence of existence Iranian architecture that its effect can be traced in all past Architectural monuments.
Islamic-Iranian Architecture has a bilateral relationship with nature, Such a way In all architectural monuments of the cities a summary of the nature is created. in the Islamic-Iranian city, Buildings have a central courtyard where residents have the opportunity to see the sky, stars and sun and inside it there are also waterfront and plants. So, the small-scale relationship with nature in house and in closest state is created. materials used in Building Construction include natural material and specially Soil which has not The destructive effects on natural environment and When Building is destroyed this materials are Recyclable and reusable. In addition, The orientation of these buildings is in a way which it best utilization natural factors (Sunshine, Winds, precipitations) is possible. While in some parts due to the needs by creating elements such as Windward and areas such as Bedchamber and Shvadan convert possible Natural threats into opportunities. also The use water resources is doing So that do not cause Pollution of it and maximum exploitation from this resource can be possible.
it must be said , unfortunately , Islamic architecture in iran has distanced from its Islamic and indigenous form , and created overt and covert problems , including loss of natural light location , impose many restriction . Koran's emphasis is on the home location and this residence before its physical concept have metaphysical meaning and means a dwelling and calm spirit , and it requires that templates of forms of housing in Islamic community will be realizes based on this meaning. therefore in this model , architectural pattern is prior to the mold and idea oriented . on the other hand , spirit shapes in the form and templates.
Examining the trend of change housing at different time telling the story of transformation of this space . housing pattern used prior to 1300 is very different with current pattern . home in its Iranian and also Islamic sense. House in its Iranian view is a completely enclosed space that constructed based on minorities and cultural condition of its time and use all places and circumstances in the best way. In this type of housing , there is comfort along with psychological , visual and audio security , and its residents have been living in the appropriate environment.
After 1300s , architecture of iran following West was changed that was in conflict in all areas . this contemporary home conflict is obvious . examining the Maskan Mehr in Borojerd showed this conflict better . studies show that Maskan Mehr in Borojerd have not bean constructed according to Iranian – Islamic model none of Iranian – Islamic architectural principle do not have been observed , so that with following West architecture and culture , Iranian values have been ignored and houses have been constructed similar to west's houses. In this respect the privacy( visual , audio, security) of the home have not been observed. If door is opened , you can see the interior of the house . house spaces in these houses is include closed space that most of its parts are scrambled , and person should define this space . space in these house is worth by objects not by elements such as walls . floors and ceilings.
The purpose of this study is to present an Islamic-Iranian model in the Maskan Mehr and The methodology of this thesis is descriptive-analytical that some part of its data were collected as library method and the other part is provided via field visit and completing questionnaire.
The results indicate that the Maskan Mehr in the light of architecture, based on observations and experts, features of Islamic-Iranian architecture can't be seen in that and the application of western architecture is evident inside the building and also its façade.

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Introduction
Designed according to the principles of the Iranian Islamic architecture in the world do not have many samples. Western culture influenced modern architecture and has little respect to the culture and customs of Iranians. Be careful in places design like airports is very important in a place that a large number of passengers every day. This research is a descriptive study and information gathering tool has been library tool and Tried to influence elements of Islamic-Iranian architecture in the design of an airport. In today's world in which the technology speaks first prior to everything, the shortage of time and the need for speeding works is clear for everyone. It must be accepted that the need for a high speed in transportation category can be important and discussible more than anything. Regarding the airplane as the fastest vehicle in today's world leads us to the space for accessing the airplane, i.e. the airport. irport terminals are buildings, which were considered as main arrivals and departures gates of the cities. And its main users are temporary and the building serves them as a pathway. This space is a perfect platform for the creation of a permanent mental and memorable space at the beginning of an entrance to a city or a country.
In addition to the important issue of the performance in airport designing, paying attention to the combination between space, form, structure and light in this building plays an important role in designing. Regarding the optimum consumption of the energy and strategies for the sake of reducing greenhouse gases and supplying the complex energy by itself and regarding the modern technology, it is necessary to definitely equip an advanced airport complex to smart materials. Therefore, regarding the mentioned items, an architect can provide convenience for passengers with proper designing and easily guide them to their objectives. Airports are a collection of different plants and equipment has been made to provide facilities for handling and air transport. As maritime transport requires port, the airport can also be likened to the air port that is required for air transportation. In places such as airports, that all passengers must be attend at least an hour early, and in many cases different reasons caused delays for passengers, it is essential to reduce psychological pressure work with a variety of solutions(Factors and solutions to improve). In an airport environment, many factors can be taken into account that can be suitable environment, away from stress and mental tension designed. In an airport environment, many factors can be considered with the help of those factors; it can be suitable environment away from stress and mental tension designed. Passengers expect a comfortable and charming terminal facilities and the behavior be effective, acceptable and done without wasting time. For this reason, the design of passenger terminal must be functional and beautiful architecture. Iranian architecture has architectural features that in compare with other countries has particular value: features such as proportional design, accurate calculations, the correct form of coverage, compliance with technical and scientific issues in the building, high balconies, tall columns and the various decorations that each of which in simplicity represents the magnificent architecture of this land . Ecological, ethnic and cultural type causes of human construction are very diverse in the area of housing and other buildings in our country.
Discussion and Conclusion
The use of different materials, different styles, very much functions of a building that still remains in our country many old houses. It seems knowing what we have in the past and recognize the principles and standards of our traditional architecture and give them a body language, pave the way to achieve what is intended, and it is the responsibility of individual architects to refer to original sources and valuable examples. The principles of confidentiality, hierarchy, coordination, connection with nature, geometry, etc. are all of those who today truly obsoleted and certainly, understanding and applying them will helpful. Since we are talk about confusion and lack of identity in today Architecture of Iran, perhaps the biggest problem in addition to the West-oriented are non-planning, a lack of strong ideas and a lack of understanding of contemporary architecture, in a break with the past architecture. The study attempts to examine some of the elements of the Iranian Islamic architecture and analysis of the potential impact of these factors on airport design, in order to recognize moral and material factors that an airport space needs them, So that could be achieve today’s Islamic architectural structures and bodies.
To date, various theories and discussions about the airport and how to design it with the help of elements and different criteria have been proposed and there are articles and books written on this subject that some have been directly used by authors. There are many different factors effect on the psyche of the passengers and the first one is time. The time they must wait, sometimes there are the stress and concerns, such as fear of flying. For this reason it is necessary that the expected space that is designed, in terms of soul mind and spirit calm passengers. Architecture as a body of thought has always been a tool for the development of thinking, attitudes and thoughts of every nation. The trace of principles and ideology prevailing culture of this country is best seen in traditional architecture of Iran. Iranian architecture that is one of the richest examples of vernacular architecture with notable formic achievements in the world, it became one of the most successful examples of architectural concept during the Islamic period.
Results
In traditional Islamic architecture in Iran, the importance of "need" in construction of "form" in Iranian architects designing and performance is obvious. Forms that sometimes is associated with creativity and unique technology, this has been indicator the ability of Iranian architects. Iranian architecture with variables such as: the benefits and avoid idleness, targeted, symbolism and legibility, prioritization and hierarchy and perfectionism, which is obtained by logical reasoning, could remind some Islamic culture values and principles such as unity, targeted and prosperity, social solidarity, individuality, respect and value, to avoid extravagance and frivolity and valuable meanings to the people using the space. In Iranian traditional architecture, some principles have been used by architect artist rooted in his vision of the universe. Addressing the root is dealing with principles. Understand the principle, is the meaning what direct the art and civilization in all of human society with a common culture and belief. So in authentic Islamic-Iranian architecture, the environment (in order to meet the needs of the inhabitants) took shape and then came to form, while in Iranian modern architecture at first, the space and then the need and comply with space take shape. Architects as creators of the building, are creating a short-lived effect and its survival is dependent on technology and technology. While in original Islamic-Iranian architecture, innovative architecture aimed to create space and building.

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Aims: One of the main challenges of Iranian architecture in its last four decades are confusions in its visual identity and the lack of dynamics in the facades of its buildings. The use of new materials along with the use of cultural values and the rich architectural identity of Iran can have a significant impact on the dynamics of urban Facades. The main purpose of this study is to explain the position of new materials in urban and architectural facades of Iran Architecture and to prioritize solutions of the use of new materials to enhance the dynamics of facades in contemporary buildings.
Methods: This research Consists of a combination of descriptive-analytical and survey methodology. and by the use of a SWOT analysis the Internal and external factors affecting the use of new materials have been analyzed and finally the data obtained in the form of questionnaire questions have been provided to the statistical community.
Findings: Findings indicate that the majority of experts pay attention to the aesthetic and static aspects of materials in the aspect of dynamics of the facade and less attention is paid to the efficient ecological components.
Conclusion: in this study the use of new materials in Iranian Contemporary architecture and its role in the development of trends and Morphological metamorphosis has been reviewed and indicates that itchr('39')s possible to improve the dynamics of building facades by using efficient components as well as improving the quality of aesthetic and statical aspects of materials.

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Aims: Iranian architecture has been studied from different aspects. Shape Grammar is an analytical tool for studying the styles and history of architecture that has the ability to provide a common language and conceptual framework, a coherent and integrated form to study the geographical differences and evolution of Iranian architecture.

In this research, the first step to compile this common grammar of Iranian architecture has been taken by compiling a grammar of a specific form related to the traditional houses of Kashan.

Methods: Out of 100 heritage houses, 19 samples were selected by random / judgmental sampling method. By analyzing the samples, minimal rules are presented.

Findings: The grammar presented in 4 steps produces the formal structure and the spatial relationships between the forms. A valid range of variables and an algebraic expression are presented. Also, with the help of grammar, the spaces in the samples have been typologized. In Kashan houses, the most important spaces, spaces with a width of 5, can be divided into 8 types based on the shape structure. In terms of spatial relationships between components, 6 specific types of relationships between the internal components of each of the previous form structures can be identified, which are described in the findings section.

Conclusion: The proposed grammar can be a coherent structure for the study of Iranian architecture. It can also be used as a suitable tool for typology. Provide the possibility of comparison as well as the relationship between different species and make the studies coherent.

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Aims: After the industrial revolution, Architectes encountered a variety of concerns. Among those were the altercation between identity and new technologies, in which some believed these two elements were directly opposite. In this regard, the main goal of the research is to explain the theoretical relationship between new technologies and the building's formal framework in the architectural works of the last four decades in Iran to provide a strategy to improve its contemporary architecture.

Methods: The research is a combined research and consists of descriptive-analytical and survey from a methodological point of view and is practical research in terms of its purpose. After examining the relevant theoretical foundations, the criteria are determined, and the samples are defined and analyzed based on the main criteria. The resulting data are presented as a questionnaire to the expert statistical community. SmartPLS was used to validate the questionnaire, and Friedman's test was used in SPSS software to prioritize the data.

Findings: the findings indicate that most experts believe that the most significant impact of new technologies in Contemporary Iranian Architecture should occur in the three main dimensions: flexibility in construction, high-speed construction, and safety of new materials against fire.

Conclusion: by examining the multi-functional buildings of the last four decades specifically in the last decade, the widespread attention of contemporary designers and architects is to use new technologies in the aesthetic aspects of buildings, which has led to the decline of the building's identity when employing modern technologies to it.

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aims: In this article, Shamsiya of Yazd, a complex of the 8th century A.H, is examined through the lens of two historical texts "Tarikh-e Yazd" (by Ja’fari) and "Tarikh-e Jadid-e Yazd" (by Kateb) - both from the 9th century. The differences between these 2 descriptions and with the remains of the building, provides a framework for understanding this building and its perception in the past.

Methods: This article, using the historical-interpretive method, first deals with the identification of the Shamsiya complex in the Waqfname (endowment letter) of Jame’ Al-Khairat, and then compares the descriptions of Ja’fari and Kateb with each other and with the Waqfname and building itself. Secondly, it will list the differences among descriptions. Finally, considering social backgrounds and textual context, it will recognize the Shamsiya collection and the way it was looked upon.

Findings: The main difference between Jafari's text and Kateb's about Shamsiya is the type of reference to decorative details and water supply corridors. Also, while the texts of the 9th century mention two madrasas in this complex, only one madrasa is mentioned in Jame’ Al-Khairat. There are other minor differences between them also.

Conclusion: The key to understand the differences lies in two authors' different perspectives; While Ja'fari pays attention to the whole building and the surface water passages, Kateb weighs more to the decorative detail and underground water. Also, the difference between the social background of the 9th and the 8th century has caused the building of Dar al-Siyadeh to gradually become "Madrasa".

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Aims: The centrality of spaces in architectural design, despite being considered as one of the pillars of aesthetics in traditional houses, has been neglected due to the current market-oriented view of the construction industry. The aim of this research is to develop a computational method to quantitatively explain the centrality in a traditional house for use in new buildings.

Methods: The spaces of traditional houses of the Qajar period were extracted and coded based on their spatial form and function. A computational model was presented to explain the deviation from the normalized center. The justified plan graph, spatial levels, and centrality of the spaces of the case study was drawn.

Findings: In the spaces of the traditional Imam Jome’s house, the courtyard, the veranda, the Shahneshin, the hall, the courtyard of the pond, and the inner courtyard represent centripetal spaces and have zero deviation from the center, and the outer courtyard with 14 connections is known as the most central space. On the other hand, the vestibule, the suffah, the ordinary rooms, the staircase, and the verandas were less central and were known as centrifugal spaces.

Conclusion: Examining centrality from both spatial and formal syntactic aspects, as well as validating with the help of mathematical calculations, can restore the pattern that existed in the architect's view at that time and use it in new buildings to highlight the aesthetic and functional elements of the building.

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The endurance of any type of architecture is contingent upon the study of the characteristics that led to its formation. Two general approaches have been adopted to study and analyze the Iranian architecture. A number of scholars have taken a historical approach, while others have merely considered a genre- based approach. Making use of many historical studies, these scholars have attempted to produce an exacting categorization of Iranian architecture. They focuse on outward form and embellishment to identify and distinguish various classes and sub-classes of architecture in Iran. The third approach, which is outlined in this article, tries to explain such architecture from a conceptual point of view. This essentially involves identifying and analyzing those features that have allowed it to endure. The article shows that there has been a precise and thought- provoking interaction between architects and the intellectual classes that led to the formation of an enduring and transcendent form of architecture in Iran.