The difficulty in answering such a question seems to be rooted in questions that deal with universal concepts. Defining such universal concepts, which seems quite simple, is very difficult indeed - perhaps even impossible in some cases. “East” and “West” are among such concepts, and of course are bonded to even more complex concepts such as “culture” and “civilization” in general. 

This paper attempts to analyse the concept of “East” and “West” at an epistemological and a philosophical level, using an inductive and a descriptive methodology. It aims to describe how the concepts of “East” and “West” are in fact indicative of two different approaches to nature, before being descriptive of a particular geographical area or location.

In terms of specialized vocabulary, origami is a pattern with a fixed structure created by smooth folded surfaces. Today, the origami art pattern, or folded paper, has become a source of inspiration for architects, designers, and researchers. The definition of beauty in specialized lexicography includes the evolution of rational features, sounds, and concepts, and in a broader sense examines the methods of feeling the environment and the individual’s position
within space. The most important factors in the study of aesthetics are the observer and its position (receiver), architecture or work of art (sender) and the environment or context of the design (interface). How this connection between original Japanese origami art as an emerging phenomenon in modern architecture and design and aesthetic concepts to improve the perception of this structure is a matter of research. The aim of this study is to identify the degree of adaptability of aesthetic criteria from the perspective of Western theorists as an important factor in understanding the pattern of origami architecture. The research method of this paper is a logical argument in order to match the aesthetic criteria with the example of origami buildings, the results of which have been studied and analyzed with a qualitative approach. The results of the research show that aesthetic characteristics are applicable to the sample of origami buildings, but the compliance and generalizability of the criteria are not the same. The most obvious compliance is related to the category of spatial quality criteria. Then, in the order of complexity and diversity, proportion and correct relationship between components and generalities and modulus and modulus, respectively, are in the next position. The lowest adaptability is related to the standard category of human scale.

This article intends to research the categorization and separation of “handicraft of Iran” in relation to the “Westernism” and “Orientalism” discourses in the Qajar discursive atmosphere by discourse analysis method and answers the questions of how “Handicrafts” is categorized at this intersection in the Qajar period, and how did these applied works changed into functional objects in the service of articulating those discourses, and the subject of the “artisan artist” was emerged? The results show that in this period, during Iran’s confrontation with the West under the Westernism discourse, the hegemonic structure of the Orientalism discourse and its actors in Iran such as Murdoch Smith, the actions of Royal discourse subjects (such as Shah) and their cultural and economic decisions to move west, led to the categorization of Iran’s handicrafts based on the “material of the work”, which still dominates this field. In this discursive atmosphere, the works of handicrafts that were previously used in the context of the lives of kings, courts, religious rites and people, turned into objects with an identity function (representing Iranian identity) in the discourse of modernity -for which everything was the object of study- and they served and articulated the Orientalism discourse, and during this process, a rupture appears in the concept of the “artisan” subject and shifts to the “artisan artist” subject.