English Garden, Another Renaissance
Heshmatollah
Motedayen
دکتری معماری، استادیار دانشگاه تهران.
author
Reza
Motedayen
کارشناس ارشد معماری از دانشگاه تهران
author
text
article
2015
per
The eighteenth century is considered the era of prosperity of science and philosophy as well as the era of painting boom in western art world. In every corner of Europe, philosophers, poets, nobles and politicians show their desire to create beautiful gardens. However, it is just in England where a new style of emergence from beautiful landscapes for paintings comes through. Unlike the French gardens, these new gardens are considered a symbol of irregularities in gardens of the world so that the impact that this huge development has had on the world’s garden design art continues till today. Considering the significance of this type of garden, reasons of creation of these gardens and their sources of inspiration are the main research questions. Did only political reasons contribute to this great upheaval? Or other reasons were effective? It is an undeniable fact that a revolution took place in the design of green spaces in England of the eighteenth-century, that political, cultural, economic and artistic effects caused this development in a unified movement. English employers of the eighteenth century were bored with European garden designs, especially French gardens due to some political, philosophical and aesthetic reasons, so they tried to assign their sources of inspiration to the Far East. English Gardens, unlike the theories that call it novelty in the world Garden design, had a kind of a return to the ancient beautiful world. In fact, this type of garden was a combination of painting, poetry, fiction and other forms of personal exaggerations whose deep origins was influenced by neo-gothic literature. The style of these gardens was closely associated with Arcadian procedures recalling the feelings of the lost and entertaining golden age of ancient artifacts that was resurrected with the renaissance movement. The revival of Roman Baroque painters and ancient poets’ point of views of English gardens require great ingenuity. English landscape architects have tried to create interesting and pleasant effects of Italian landscapes in mind and revive pleasurable practices. Therefore, the influence of medieval art on these gardens can be seen that led to another renaissance.
The Monthly Scientific Journal of Bagh-e Nazar
Nazar Research Center for Art, Architecture and Urbanism (NRC)
1735-9635
12
v.
34
no.
2015
3
10
http://www.bagh-sj.com/article_11085_c4f04c694d226d0d136c3c01dc776357.pdf
Redefining Woman’s Role in the Family and its Impact on the Painting Decorations and Structure of Aristocratic Houses in Tehran during the Qajar era
Maryam
Armaghan
دکتری معماری. استادیار گروه معماری، دانشکدة معماری و شهرسازی، دانشگاه آزاد اسلامی واحد قزوین
author
Hossein
Soltanzadeh
دکتری معماری. دانشیار گروه معماری، دانشکدة هنر و معماری، دانشگاه آزاد اسلامی واحد تهران مرکزی
author
Homa
Irani Behbahani
دکتری معماری. دانشیار گروه طراحی محیط، دانشکدة محیط زیست، دانشگاه تهران
author
text
article
2015
per
Many of the biographies and travelogues of Qajar era have reported a gradual change in the culture of aristocratic families in Tehran especially since the middle of Naseri period. Some of these changes gradually modified the definition of woman’s role in the family. The purpose of this paper is to examine how the changes appeared in the body, painting decorations and structure of the house based on the redefinition of woman’s role in Tehran during the Qajar era. Thus, the present study is not aimed at describing the shapes used in the body of the house, or analyzing the house based on figurative, climatic and spatial criteria but it has mainly investigated the relation of the body and structure of the aristocratic houses with the life cultures. Therefore, reconstructing the behaviors and relationships among family members and home affairs have been carried out by studying the biographies, travelogues and texts of that period so that the effect of family structure, which is heavily influenced by the definition of woman’s role, on the aristocratic houses was examined in the Qajar era. The architecture of houses has been studied in two body parts, the form of the house and painting decorations, and the structure, the relationships between different areas of the house. Furthermore, in the analysis of spatial and structural patterns used in the architecture of aristocratic houses, it should be noted that the spaces used in the house with a fixed face and realized rules and sometimes with semi-fixed and flexible models were sometimes emerged as formless and with invisible relationships. Therefore, the shape and the body of the house can not represent the events and lifestyle by themselves. Here again, the role of reconstructing behaviors and events is revealed mainly through the study of the literature of that period. Data collection of words and images is seeking to answer these two questions: How has the definition of woman in family affected the structure, body and decorations of aristocratic houses? And how has the change in the definition of woman modified the body and structure of the aristocratic houses in Qajar era? It seems that the response to the posed questions roots in the pale of male-female borders. Thus, the research hypothesis can be stated as: the pale of male-female borders has led to the changes in the body, painting decorations and structure of aristocratic houses. Since considering the status of women in the context and background of Qajar era, regardless of the lifestyle, family structure and socio-cultural conditions of the period is not possible therefore, examining the facts relating to the definition of women’s status was carried out on the basis of historical research plan and through using the primary and sometimes secondary sources. The present study was carried out by using the interpretation-historical research method which involves four stages: First, gathering sources which are mostly the primary ones in the present study and includes biographies, memoirs, and interviews. The next step is to collect and organize the data and then, to evaluate, describe and analyze the data and finally, to sum up and make conclusions. The targeted sampling was intended in the present research so that among the various aristocratic houses which reflect their own certain characteristics, a sample house was chosen so the comparison was facilitated between them. Therefore, five Qajar’s aristocratic houses were selected based on the historic transposition and different physical and structural features. Since identifying the woman’s role in the period is not something that has a lot of available primary information, reading the biographies, memoirs, and interviews is considered useful in order to understand the life culture of the aristocratic and explain the woman’s role in that culture. The next step is to investigate the relationship between the body and structure of the house and the life culture of the house. Then, the change in the woman’s definition has been considered in that period and the five aristocratic houses were explored in order to analyze how the changes were made in the body and structure of the house. Finally, analyzing and summarizing the data and making conclusions of them have been carried out. The results show that women’s participations in the community which were previously hidden, and the pale of male-female borders made a difference in the life culture, so that the need for having eunuchs as a liaison between the male and female worlds was gradually vanished since the late Nasseri period. Multiple interior spaces and some spaces for the eunuchs were eventually excluded due to the spread of monogamy, and consequently, the house became more focused-body. The themes of painting decorations of this period are also the narrator of the above changes; therefore, images of foreign women started to appear on the walls and ceilings of the halls and alcoves of aristocratic houses and the bodies of women and men’s started to be written distinctively in the middle of Nasseri period.
The Monthly Scientific Journal of Bagh-e Nazar
Nazar Research Center for Art, Architecture and Urbanism (NRC)
1735-9635
12
v.
34
no.
2015
11
24
http://www.bagh-sj.com/article_11086_71386859b1ba7f965f4882cafc750a96.pdf
Analytical Approaches to Traditional Urban Patterns for Providing a Guideline of the Historic Axis Structures of Middle Cities (Case study: Miyaneh city)
Kamelia
Eftekhary
کارشناسارشد طراحی شهری، مربی دنشگاه آزاد اسلامی واحد میانه
author
text
article
2015
per
Cities are prominent signs of civilization in every nation. The signs, old symbol of ideas, customs, relationships and interactions of people have played a role in the formation of cities and intertwined a set of environmental, geographic, climatic, traditional and religion combination. Historic cities in Iran are the most valuable cultural heritage that expresses the dynamism, vitality and symbol of urban life. Architectural and urbanity of ancient Iran includes principles that have been manifested in the heart of the tradition. In recent decades, due to unbalanced expansion of cities and discontinuity of spatial organization, and arrival of new technologies, globalization and the space density, traditional city is far from its truth and it has created challenges for traditional urbanism and modern urbanism. Therefore, the main content of this paper includes spatial structure approach, respecting the history and concepts of Iranian traditional city. Certainly, utilizing traditional patterns and benefiting from past experiences could be a good and useful foundation for urban development patterns in the future. Searching climatic patterns and patterns of access based on traditional experiences can lead us to achieve harmony with the environment. The necessity of understanding the concepts of traditional city, cultural features, indigenous and historical context and criteria for recognition for structure can result into creation of objective models. This research tries to achieve the traditional Iranian pattern for design of historical context in Miyaneh city. The hypothesis of this study is to improve the environmental quality of traditional urban patterns through studying traditional patterns. The study method is, descriptive-analytic with use of practical subject and data. The initial recognition of structure was reviewed though library documentations, travelogues, maps and the data were completed by the direct information obtained by the author. Finally, two sets of questionnaires were prepared for Yazd and Semnan in order to evaluate the hypothesis. Other questions were designed to assess the influence of the old context in the neighborhood shrine in Miyaneh. The guideline of the historic axis for middle cities was presented by analysis of the old structure and identification of key areas of context, as the result of the identification of key areas of context, as the result of the study. Important points of the guideline are as follows: - Organic Maintenance - Strengthen the relationship between the forecourt and bazaar - Unaffected new spaces of physical and semantic features of the old spaces - Using an existing model and concepts of architecture modeling based on context as the Chahar Bagh principle of traditional cities -Consideration of the shrine axis orientation
The Monthly Scientific Journal of Bagh-e Nazar
Nazar Research Center for Art, Architecture and Urbanism (NRC)
1735-9635
12
v.
34
no.
2015
25
36
http://www.bagh-sj.com/article_11087_161a34b13ccd1809303b8c8747a71026.pdf
Street theater and its relationship with urban spaces
Majid
Sarsangi
دکتری ادبیات نمایشی. دانشیار گروه آموزشی هنرهای نمایشی دانشکدة هنرهای نمایشی و موسیقی، پردیس هنرهای زیبا، دانشگاه تهران.
author
text
article
2015
per
From the very beginning of the genesis of theater, performing in “outdoor spaces,” has been one form of theater which includes squares, passageways, centers for people gatherings (such as, bazaars, in front of temples and farms) and other such spaces. In modern times, we witness theater and performances that are performed in outdoor spaces like streets, cafes and other “informal” theater spaces instead of being performed in “indoor” and “formal” spaces. Although there are similarities between the prior performances with the ones in ancient times, the outdoor performances and informal theater settings, usually knows as “street theater,” tend to maintain a distance from the aura of the ritual and focus on political, social, economical and even military issues. Usually these issues are expressed in terms of protest. One similarity between theater in ancient and modern times, is utilizing urban spaces (perhaps, in the case of ancient times, rural spaces) as a stage for performance. By utilizing urban spaces these theater performances transfer a new kind of identity to the city; they have an effect on the city and the city affects them reciprocally. Some researchers believe that the function of physical space is deeply based on its cultural roots. This fact could be seen in religious plays in primitive societies, old civilizations and even modern societies which have kept their religious traditions. Study about the social- cultural roles of physical space presents three facts: first, physical space reflects social- cultural desires of artists and audience. Second, this space has important role in society and social- cultural life of audience. And third, physical spaces of religious plays in old civilizations were among the most amazing parts of man’s architecture. Today, urban spaces are not merely understood as spaces for business and trade or material and physical support for every day livelihood, rather as evidenced by the arts that saturate the urban space and create a spiritual atmosphere (caused by art), the city can play a more important and higher role for humanity. To this day, different researchers inside and outside Iran have studied the topic of “street performance” or “street theater.” The common aspect in all these researches has been their emphasis on principles of performance for these kinds of theaters. Few people have looked at this topic through the importance of the urban spaces or “the city as the stage of performance.” In comparison with prior researches, this article’s special characteristic is its entry point to the topic i.e. from an “urban” standpoint. Furthermore, unfortunately, most of the books published inside Iran on this issue, are repetitions and copies of Western researchers and little signs of innovation and local identity of “street theater and the city” in Iran can be sought in them. The 20th century with its important changes in different aspects such as economical, political and social, has been a good context for creating street theatre. A large number of dramatists found this kind of performance suitable for connecting their productions to people. As a result many plays were produced in this genre. Among the most important dramatists, who paid attention to the street theatre, can be mentioned Antonin Artoud, who has come to this field with his idea of Group Theatre. In 1919, Oruonov had shaped street theatre in Russia. Besides Oruonov, Platon Kerzhentzev and Vakhtangov also had the same experiences. In Italy, Odin Theatre, Barbaya Theatre, The Third Theatre and Darufo Theatre started working in this field. In France it was Peter Brook that had experiences to establish more relationship between actor and audience. One of the most famous groups in that era called Living Theatre was founded in 1946 by Judith Malina and Julian Beck. The most important issues used in this group were about fighting against war, especially in Vietnam. Open Theatre Group, founded by Joseph Chaikin and Happening Theatre Group, founded by Allan Kaprow, by focusing on environment and space as the key element of theatre made the American movement of street theatre faster. Richard Schechner established Performance Theatre Group in 1968 and also The Bread and Puppet Theatre Group was founded by Peter Schumann. Both mentioned groups had a great influence on street theatre in USA. Inquiring into “street theater” once more, this time from the perspective of the importance of urban spaces and emphasizing the usage of urban spaces as places for theater performance, due to the close relationship with the audience, the existence of potential audience and finally, the manifestation of themes that are closely related to peoples social lives, could offer new guidelines for Iran’s theatrical scene and transform theater into a serious art in people’s daily lives. Artists and people of the past had placed great attention to this point and in reality this has rendered this kind of theater a part of Iranian life.
The Monthly Scientific Journal of Bagh-e Nazar
Nazar Research Center for Art, Architecture and Urbanism (NRC)
1735-9635
12
v.
34
no.
2015
37
48
http://www.bagh-sj.com/article_11088_84e8770c3a2838fa28edbf3775423641.pdf
Review and Analysis of Art Flows of Contemporary Uzbekistan Paintings
Mehdi
Mohammad Zadeh
استادیار دانشگاه هنر اسلامی تبریز.
author
Arezoo
Paydar Fard
دانشجوی دکترای هنر اسلامی، دانشگاه هنراسلامی تبریز و عضو هیئت علمی دانشکده هنر دانشگاه بیرجند
author
text
article
2015
per
Uzbekistan is one of the major cultural countries in Central Asia. This country has a history of traditional arts, especially in painting, due to the discovery of Afrasiab archaeological drawings in the 7th and 8th century and Bukhara school in the 15th and 16th centuries. Contemporary art is also one of the most prevailing arts in this country. This study seeks to identify different styles of contemporary Uzbekistan paintings. Twentieth-century Russian culture and art of Uzbekistan with regard to the impact on the evolution of traditional and modern painting are also achieved. Ancient art of Uzbekistan is extremely valuable, especially in the field of painting and has had a special place in the history of Islamic art. Bukhara Miniature (Uzbek painting) are formed simultaneously with the late Timurid Herat after school thrived in the 15th and 16th centuries; Central Asia and Transoxiana, miniature painting, and so is the school. The name of the artists that have a significant impact on the Bukhara school of painting, can be "Kamal al-Din Behzad," noting that the continuation of his paintings and drawings together with local characteristics has made total of Bukhara painting. Another group of contemporary artists, including Uzbekistan, Uzbek and Russian artists influenced by modern art and culture of the Russian Communist regime in the country have developed the tendency of Western painting styles in categories such as Real, impressionism, cubism, abstract and contemporary paintings over other styles that became popular in Uzbekistan. According to the studies of this paper, two approaches to the art of the twentieth century in Uzbekistan are revealed: Contemporary paintings are inspired by the paintings of artistic traditions, especially in Uzbekistan and the symbolic use of traditional elements as well as the identity of these works. Contemporary paintings are inspired by the art and culture of Russia and East Europe and the creation of avant-garde art in the twentieth century paintings in poster design, book illustration and graphic art of Uzbekistan. The paintings inspired by the artistic traditions of Uzbekistan in the twentieth century that are painted in oil on canvas, are introduced in graffiti and painting exhibitions and fashion with an emphasis on traditional clothing for women. In addition, some important aspects of the image reflected in paintings by contemporary artists are influenced by discoveries in archeological Uzbekistan Afrasiab sites, and Panjakent and Varakhsha by many visual motifs of Sassanid art, Hindi, Chinese paintings and Buddhist icons. In another group of paintings, according to the identity-oriented lacquer paintings, it can be grasped that the hypothesis of the present paper is based on the signs of the historic painting to be proved in contemporary Uzbekistan painting. Research method of this paper is descriptive-analytical and in some parts of it, necessary comparative studies have been conducted. Data used in this research are gained through library research and Internet sites and field studies have been conducted as well. Notable books about Uzbekistan painting written in is not available Persian language. Given the history of Uzbekistan painting, identity-oriented discussion in contemporary painting has been is highly considered in this field. Undoubtedly the preservation and conservation of “Igor Savitsky” Museum of avant-garde art in the twentieth century in Uzbekistan has to be taken into consideration where the most important avant-garde artworks of artists of Uzbekistan, Russia and Pakistan have been collected while the government had not considered it for several years. Our researchers need to consider more serious studies in the Central Asian region due to many similarities in culture and art.
The Monthly Scientific Journal of Bagh-e Nazar
Nazar Research Center for Art, Architecture and Urbanism (NRC)
1735-9635
12
v.
34
no.
2015
49
58
http://www.bagh-sj.com/article_11089_d041b453fade9581bce4e42b7b4f4c95.pdf
Analysis of Appearance Fields ofP ostmodern Sculpture from 1960 to 1980
Somayeh
Moosavian
پژوهشگر دکتری معماری دانشگاه آزاد اسلامی واحد علوم و تحقیقات تهران
author
text
article
2015
per
Postmodernism, an art which is in due to variable functions and constantly is being changed in nature and identity. These things are in direct relation to today sculpting while these amazing varieties are not obvious in any fields as they are in the world of sculpture. Now it is queried which evolutions in modern era, in this field, did cause the rise of postmodern sculpture? Regarding the content and concept of sculpture, it is assumed that although predominant formalism led to changes in prevailing attitudes in modern sculpting, postmodern sculpture rises by new form of expression. This article has a descriptive – analytical approach in evolutions and alternations of sculpting since modern era from 1950 to 1980. Regarding there is no academic organizing in evolution backgrounds and rise of postmodern sculpture by their effects on sculpting from 1980 up to now, the necessity of concerning it in this research is highly sensed. Finally it is concluded the the evolutions like the changes in content of gallery to show sculpture, change in industrial reproduction in materials as artwork forms and the effective role of time and place in production and showing of sculpture were of those important basic evolutions caused the modern sculpture meaning, as an abstraction form, to be under questioned and changed its identity. These changes caused the rise of new understanding to give special “content and meaning” by sculpture in a new form. From 1980s, the term "pluralism" as a slogan heard the most nominated the frequent and various styles attended in that time. In sculpting of this decade and later, in addition to inspiring from the previous movements, styles and even the past eras in sense of postmodern the “topic” is obvious and turned into a character far away from abstract principles predominant in modern era. By the advent of postmodernism the statue changed from a modern three-dimensional artwork that occupies the space to a state expressing a concept and in fact this idea linked three-dimensional art in an intellectual reflect to dream. Now statue is an endless circular diagram path which is moving from volume to space, to object, to location and to concept. In the 1960s, new approaches in the field of art arose like Art Povera, Post Minimalism and Conceptual Art in various formats such as Environmental art, Performance art and Installation. Changes in form and expressing form of statue, factors such as displaying statue in public places, relationship between statue and environment and natural base, stating the industrial reproductive objects as a form of artwork, displaying the state works by photography and change the concept of gallery, the effective role of time and location in performing and displaying the statues are the basic revolutions which made the identification of modern statue as an independent object under question and changed its identity. In other words, these things revealed a jump from external skin to internal structure despite of position of artwork location. These evident changes became the main indexes of turning away from modern abstraction to a pure form to make a new understanding in significant form and content. In postmodernism unlike the modernism, the “content and meaning” express the first words by changing the existing structures. In fact the postmodernist statue`s characteristic is its ability to pay our attention to internal accurate relations between form and space to express a significant message. Some characteristics of this kind of statue can be mentioned as its sensitivity over daily events and social facts by expressing these things by potentials of this field which is displayed in form of metaphor, symbolism and allegory. In fact the “topic” in postmodernism art allow sculptors to express their personal concerns and environmental problems and plan everything in their works without any worries and ceremonials. Forms and types of post-modern sculpture internally and "self-organizing" brought art definitions to indeterminate boundaries. Boundaries between form and meaning content have been mixed and the form of statue extended to new gamut of meaning relations. Artistic styles changed till involved in semantic inevitable and shake art definition. There is no definition to link the various types of artistic sculptures together and offer a common artistic characteristic of them. Sculptors turn the common aspects of life to a performance which expose a person to events and challenges his understanding, brings him to new region of emotional notion and offers experience behind the change of these objects and complicated imaginations, a key point is hidden which is the internal search of definition.
The Monthly Scientific Journal of Bagh-e Nazar
Nazar Research Center for Art, Architecture and Urbanism (NRC)
1735-9635
12
v.
34
no.
2015
59
68
http://www.bagh-sj.com/article_11090_3257afe1789a44bdb110f881e9766f58.pdf
Rereading of Memory and Identity in Monumental Architecture of Iran
Hekmatollah
Mollasalehi
.*دکتری باستانشناسی، دانشیار دانشگاه تهران
author
text
article
2015
per
This article tries to represent very briefly multiform and multifarious or multi functional aspects of monumental architecture of Iran. Every work of art in general and every monumental architecture particularly as a material text produces uniquely its own message and its own identity or its own context. We can put the issue very geometrically by employing the method of classification and categorization of monumental architecture of Iran according to its structure and its content. As we know every monumental work of art or architecture produce historic memory and socio-cultural identity of this or that period, this or that group of people in this or that geography or environment that has been created. One probably has been created for representation of political power other for expressing ritual or aesthetic values. In monumental work of art of Iran in general and monumental architecture particularly from ancient times to contemporary period we can find all these multifarious aspects. To reread and reunderstand monumental architecture as a part of material culture language, or iconic language implies not only rereading and reundrestanding how monumental architecture comes to a different category of communication or discourse but also invites us to recall or memorize and participate to divers circles, levels, aspects and as well as stages of our cultural heritage. Concern with the nature of such material culture language is of long standing in related to different category of language with its own grammar and rules of decode. Monumental architecture as material or as iconic language includes its own metaphorical act of mind particularly and man as polyglot being in general. In each process of foundation and structural activity of monumental architecture as language paralleling metaphorical with visualizing and memorizing of whole our way or mode of being in this or that period as well as in this or that historic geography in its multifarious aspects. Monumental architecture as iconic or as material language includes uniquely both verbal and textual aspects as well as conceptual language in its own way of expression very actively and very expressively. Another fundamental focus of the underlying discussion concerns multifarious associations of monumental architecture and collective memory particularly and memory in general. Each act of structuring monumental architecture naturally intertwined to active shaping identity. Obviously, active role and participation of collective memory in micro and macro scale to discuss about founding and structuring of monumental architecture as well as shaping identity is quite difficult.
The Monthly Scientific Journal of Bagh-e Nazar
Nazar Research Center for Art, Architecture and Urbanism (NRC)
1735-9635
12
v.
34
no.
2015
69
82
http://www.bagh-sj.com/article_11091_4a849e8a770d9e9e398600566e30afe7.pdf
Location of Ojan Ilkhanid City Based on Historical Resources and Archaeological Investigations (Research on Sites of Koller and Dali Darasi in Bostan Abad City)
Rahim
Velayati
University of Tehran
author
Behzad
Mehdizade
University of Tehran
author
Hamid
Khanali
Tarbiat modars University
author
text
article
2015
per
The historical city of Ojan (current Bostan abad), is one of the Ilkhanid major cities (the summer residence of the Ilkhanid royal family) in the course of prosperity and development of Ghazan khan. According to sources, this history of the city dates back before Ilkhani era. However, as a consequence of various events such as earthquake and wars, its existence couldn’t be revealed as a strategically important city. It was until the Ilkhanid era when the importance of the city was unclosed. According to the shortage in sources about the exact location of this city, the necessity to study and scrutinize the remains of this city is highly required. Therefore our main question investigates the exact location and measures of the city in accordance with archaeological investigations and historical resources. Obtained architecture structures include battlement which are square shape, governmental castle, some monitoring turrets and terminated walls, incused under glaze clays, under glaze paintings and local clays without glaze belonging to 6th-8th century A.H. which are the monument of Ilkhani city of Ojan according to picturers.
Considering the 3 chapters investigation on archaeology in Bostan abad town, there are achieved some results which are associated with Ojan city: 1- Existence of the city in the first centuries of Islamic and its development in the Ilkhanid era (documented in historical resources). 2- Adaptation of its geographical position with current Bostan abad city (documented in archaeology studies) in two Ilkhani sites of Kollar and Dali darasi. Therefore, this paper has tries to analyze new obtained data from archaeological investigation in the region of Bostan abad with written resources of Ilkhanid era in order to take another step toward finding its precise location.
Considering government house, rabaz and sharestan, the wall has a circular shape. This section - cone-shaped hill with elliptical cross - is about 10 meters above the surrounding terrain. The remains of brick arched walls and stone can be seen in this section. Surface works show that the palace was probably in the south west of the castle (based on Chalabi’s painting is in the north west of castle) and it was a distance of approximately 100 meters from castle to inside of the wall. The place of sharestan and rabaz is out of identification bounds and agricultural activities and land leveling has destroyed this sector. Even current location of Ashraf abad’s village could be one of the assumptions of sharestan and rabaz’s position; and likely in the time of construction rural access roads, part of the area is turned into suburbs. Finally, it must be said that based on archaeological researches, the Ilkhanid city of Ojan must be sought near the present city and according to recent studies, the sites that having all this specifications are the two sites named Koller and Dali darasi which are the section of Ojan city. However, defining the exact geographic position and location of the city spaces and speeching area requires further speculation and ongoing archaeological investigations since the exact result cannot be announced according to the existing data. It is hoped that with the support of multilateral authorities this project will be fulfilled as soon as possible so that its achievements be useful for future researchers and archaeologist.
The Monthly Scientific Journal of Bagh-e Nazar
Nazar Research Center for Art, Architecture and Urbanism (NRC)
1735-9635
12
v.
34
no.
2015
83
92
http://www.bagh-sj.com/article_11092_b1f4e61acd29d1b307b4b6b39b5c069d.pdf
Analysis of Factors Affecting the Creation and Promotion of Sociability in Public Spaces in Different Scales of Tehran City (Case studies: Two Neighborhoods and an Area in District 7 Tehran)
Delaram
Shojaee
Art University of Tehran
author
Parvin
Partovi
Art University of Tehran
author
text
article
2015
per
Tendency to the mechanized life, the widespread presence of various means of transportation and the change of city image due to the dominance of vehicles in urban areas, the segregation of people from public spaces, neglecting of social cultural values and the identity values which is hidden in the public spaces, inattention to the maintenance and improvement of community life in the former decades has led some public spaces to lose their importance and role in different urban scales. Creation of public spaces at different urban scales in recent decades has been an attempt to meet the needs of the human community to the public spaces. The presence of people in these spaces leads to the sociability of public spaces which is a factor for space success. Now, similar scales, lack of criteria for success of public spaces and lack of criteria for sociability of space have lead to emptiness and rejection. In this viewpoint the identification of the creation and promotion of sociability in public spaces is necessary to prevent the falling off public spaces at different scales. In this regard, the question is what the factors affecting the creation and improvement of sociability public spaces are and whether public spaces close neighborhood and regional scale is necessary or not. The aim of the leading research is to express the effective factors in creation and promotion of sociability in public spaces considering the different scales of public spaces of Tehran.
To meet the expressed purpose, firstly studies have been conducted for the concept of public spaces, sociability and the sociability of public spaces. Moreover some criteria for evaluation of sociability in a conceptual model in three phases of sociality, physical and activity have been developed. Seven criteria for physical dimensions, five criteria for social dimensions and two criteria for activity dimensions were selected to evaluate these aspects. For measuring the criteria, two public spaces of Sohrevardi neighborhood and Dabestan and Andisheh Park have been selected. This study is among the qualitative and quantitative research. Methods In this research is descriptive – analytical since it describes and investigates the understanding of sociability in the public spaces and factors in creation and promotion of it. The research is Analysis because it is requires analysis of various factors of sociability in public spaces and in parts of the research was used analytical method. In the main part of research, field investigations was conducted through use of case studies. In order to meet the assessment criteria and meeting the hypotheses and questions of research, observations and quality analysis, use of descriptive statistics and inferential statistics (done by SPSS software) have been done. The data collection tool in this research was questionnaire, observation and presence in public spaces, respectively. The questionnaire is set to measure the criteria and indicators of sociability in public spaces and answer questions and hypotheses of research. Observes and presence in space by the researcher continued in several days at different times of day and in all the spaces. The population study comprises all residents of Dabestan and Suhravardi neighborhoods. Questionnaires distributed among the people in the area who are a resident of the neighborhoods. The sample size in this study that is based on the Devas table at 95 percent, with 10 percent of sampling error in selected 100 samples. In each of the spaces of Dabestan neighborhood, Suhravardi neighborhood and public spaces 100 questionnaires was distributed of which makes a total of 300 distributed questionnaires.
The result shows that public space of the area with less access and farness has been more agreed than public spaces by more residents of two neighborhoods and has the most sociability. Also the obtained result shows that paying attention to sociability criteria during planning and designing of spaces creates adjacent spaces which survive in different scales.
Public spaces in different scales have their own role and function and it is essential for these spaces at different scales. Lack or shortage or non-functioning space on a scale will impose other measures of space to other spaces that has to be accepted by other spaces. Design and planning of public spaces based on the dimensions of successful public spaces in various scales can prevent this issue. There should be spaces in various scales in order to attract people according to their status, tastes, needs and etc who want to select their desired space and attend it. Not only improper space function in local scales causes force for people to use the space, but also provides the opportunity to abandon these spaces. Hence it is essential that various aspects of space design be considered in order to carry out their role in various scales.
The Monthly Scientific Journal of Bagh-e Nazar
Nazar Research Center for Art, Architecture and Urbanism (NRC)
1735-9635
12
v.
34
no.
2015
93
108
http://www.bagh-sj.com/article_11093_6ecbbd1706d20512f244c6c1fb8679a4.pdf
Space-people Participation or Connection of Political Affairs to Urban Space
(Case Study: Bab-al-vazir district and Tahrir Square, Cairo, 2012).
Ali
Javedani
Ph. D. candidate in architecture, Art University
author
Hossein
Parvin
author
text
article
2015
per
The concept of participation has gained a major role in various domains of spatial design and planning including urban planning and landscape design. Although the very core of participatory approach is fundamentally related to emancipatory politics, what is presented in the scope of design and planning as related to participatory in recent years, is not only far from emancipatory and struggle for the rights of the underprivileged, but also turned toward negotiation with the state (power institution/institutionalized power) and accepting its role as a legitimate and negotiable one. The paper tries to pose a question about the possibility of extracting a model for participation, in order to re-connect the political affairs, image of the city and its landscape.
In this article we tried to construct and present a new model of participation named space-people participation, through analyzing and assessing some of the most remarkable theories and approaches of participatory design and planning and also paying attention to perceptional and subjective characteristics of urban space. In this model, participation is defined as a form of power relations in which space is also an active participator besides people and the state. On one hand, this model is based on the actor-network theory and on the other hand, on the will to regain the power from the state, by the people, which is the core of participatory politics and design. The aim of this model is to change and reshape the subjective elements and characteristic elements of the image of the city, its landscape and also people, through the process of the production of the space. Moreover, it defines the landscape as a product of participation of people and space to regain the power of control over the spatial production process. In this model, the main criterion of assessment of the quality of participation, is the intensity of effects of participation in reshaping the subjective factors of urban perception and image, and also the amount of increasing or decreasing of the people’s power and control over space and the political sphere. Finally, two case studies, Bab-al-vazir restoration project and revolutionizing Tahrir Square, both in Cairo, are compared through the space-people participation model and Tahrir Square is presented as the true exemplar of real participation.
The Monthly Scientific Journal of Bagh-e Nazar
Nazar Research Center for Art, Architecture and Urbanism (NRC)
1735-9635
12
v.
34
no.
2015
109
124
http://www.bagh-sj.com/article_11094_55f2c7a586780abfbfa4286ce054cb72.pdf