@article { author = {Sarfaraz, Aliakbar and Javadi, Shohreh and Alian, Alamdar}, title = {The influence of Sassanid art on shapes and inscriptions on façade of Jurjir Mosque}, journal = {The Monthly Scientific Journal of Bagh-e Nazar}, volume = {9}, number = {22}, pages = {3-10}, year = {2012}, publisher = {Nazar Research Center for Art, Architecture and Urbanism (NRC)}, issn = {1735-9635}, eissn = {2251-7197}, doi = {}, abstract = {Iran has seen the rise and demise of many rulers across its history which dates back thousands of years ago.  There are presently numerous religious and royal sites still standing across the country to be proof of Iran’s glorious past.   The demise of the Sassanid dynasty brought about a major political and religious change in Iran.  Nevertheless, the Persian art remained in place and over the years after the Sassanid downfall manifested itself in construction of sites and structures.  Therefore, a study of the architecture used in structures in early years of the advent of Islam in Iran is necessary to realize how Iranian artists transferred their knowledge at the turn of this important historical juncture.         The eighth century in Iran’s history is called the age of scientific and cultural advancements and the era during which Persian art was revived (Free 42:2002).   This is mainly due to the formation of various local statehoods in Iran and subsequently the emergence and development of different thoughts.  It was during this period that important political hubs were created in Shiraz, Rey, Hamadan and Isfahan. It is understood from Islamic transcripts that there was a quarrel at the time between Ziar Dynasty and Buyid dynasty over capturing Isfahan.  After a series of battles, Isfahan was eventually captured by the Buyid dynasty.  It was then that the Buyid king Hassan Roknodolleh started serious efforts to develop the city (Honarfar 34:1971).   One of the remarkable sites that have been constructed in Isfahan during the Deilami era is Jurjir façade which is the only remaining part of Jurjir Jame Mosque of Isfahan.  The façade of Jurjir Mosque dates back to the tenth century and its decorations were created at the time of its construction.  This construction is a precious sample of brickwork and plasterwork of the era and is formed from three parts: frontage, front arch and doorway. Frontage of façade is divided into several parts by engaged columns.  An example of such work was used in the Ashoor palace of Parthia period.   This technique was popular in the Sassanid period and examples of it can be seen in the front of Kasra Palace (also known as Tagh-i Kasra) as well as in buildings and sites belonging to the eighth and ninth centuries.     By dividing the wide surface of facade into decorated, extended frame, a boring monotony of the surface is modified and numerous spaces are created for creating different decorations.  In addition to this, the construction of long engaged columns produces a considerable visual effect on deluding excessive heights.  This is believed to help add to the magnificence of the structure.  Also these engaged columns create light and shade in different hours of day and has considerable effect on cooling the surface of the structure.      Jurjir façade is decorated with inscriptions of the name of Allah in Kufic part of which has been ruined over time.   Brickwork in constructions of buildings and religious as well as royal sites during the Deylamite period is an integral part of construction.  Undoubtedly, the decoration on the façade of Jorjier Mosque should be considered as one of the remarkable samples of brickwork during the Deylamite period.  The decoration on the Mosque includes five types of geometry designs.  The plaster molding as used in the decoration of Jurjir facade is also a significant work of art that was common during the Deylamite period.  In Jurjir Mosque, plaster has been used as decoration in two frames.  Firstly, as an independent element and secondly as a perfect element.  In other words, plaster is dependently engraved in some parts and was the decorated element of façade and in some parts it was used as brickwork decoration.   On the whole, eight types of decoration are seen on the Jurjir façade which are divided into two main groups of herbal and geometrical designs. One of the techniques used in Jurjir façade is to use brick and plaster work for decoration. Decoration of two eastern and western frames of façade was created from integration of brick and plaster as well as a combination of herbal painting and inscription.   In other words, artistic shapes were used for decoration by bricks and then the decorations were polished by plaster.   It is generally known that each Islamic city has had only one Jame Mosqu (Hilnberand, 44:2004) by the 10th century.   Interestingly, Jurjir Mosque was constructed opposite of Kabir Jame Mosque.  Based on transcripts obtained from eras after the advent of Islam, Jurjir Mosque was superior to Kabir Jame Mosque from the viewpoint of height, firmness and architectural style.  Nevertheless, some researchers have expressed doubt over whether Jurjir Mosque had any specific religious application.   There is, however, no question regarding the fact that the Mosque is ancient and that it was constructed during the Buyid dynasty.   Studies show that brick working and plaster work techniques have been used skillfully in decoration of this structure and a study of applied paintings shows that patterns of most of these works date back to the Sassanid period.   These artworks have been used in Islamic period with a new insight on that the Islamic insight has been manifested in its Iranian form which can be observed in painting lattice.  For example, the designs of two sides of the façade which are stretched as a long tree from down to top, the reminder of engravings of two sides of big arch is Bostan Arch of Kermanshah.  Also other geometrical designs and sometimes herbal designs are taken away from designs of Sassanid period artworks.  }, keywords = {Architecture of Isfahan in Deylamite period,Jurjir façade,brick working of Deylamite period,plaster molding of Deylamite period,Sassanid period designs}, title_fa = {بررسی نقوش سردر جورجیر و تأثیر پذیری آن از هنر ساسانی}, abstract_fa = {فروپاشی سیاسی هر حکومت به معنای محو کلیه آثار فرهنگی آن حکومت نیست به خصوص زمانی که حکومت مورد نظر، از بنیان‌های فرهنگی استواری برخوردار باشد. انقراض سیاسی ساسانیان یک تحول سیاسی‌-  مذهبی بود که بازتاب فرهنگی این دوره تا قرن‌ها پس از ساسانیان در تولیدات فرهنگی قلمرو آن  قابل مشاهده است. مطالعه معماری دوره اسلامی به ویژه قرون اولیه آن با اتکاء به این موضوع، دستاوردهای قابل توجهی در پی خواهد داشت.  مسجد جامع جورجیر اصفهان در محل فعلی مسجد حکیم قرار داشته است که در زمان صفویه به منظور ساخت مسجد حکیم کاملاً تخریب شده و از بنای مسجد، تنها سر در شمالی آن در ساختار مسجد جدید برجا مانده است. سردر مسجد جامع جورجیر بنایی است متعلق به قرن چهارم هجری قمری که دارای تزیینات و ویژگی‌های منحصر به فرد گچبری و آجرکاری متأثر از هنر ساسانی است. با توجه به تأثیر‌پذیری هنر اوایل اسلام از هنر دوره ساسانی، این پژوهش ضمن مطالعه معماری بنای سردر جورجیر از خلال متون تاریخی، به تحلیل تزیینات به‌کار رفته در سردر جامع جورجیر پرداخته و سپس مقایسه آن با نمونه‌های مشابه دوره ساسانی مد نظر قرار گرفته و در پایان نتیجه زیر حاصل شده است: - تزیینات سردرجورجیر متعلق به قرون اولیه اسلامی است که تأثیر هنر دوره ساسانی بر آن کاملاً مشهود است.}, keywords_fa = {Architecture of Isfahan in Deylamite period,Jurjir façade,brick working of Deylamite period,plaster molding of Deylamite period,Sassanid period designs}, url = {http://www.bagh-sj.com/article_1880.html}, eprint = {http://www.bagh-sj.com/article_1880_f8176c48944b4fc764347b53a957e1ce.pdf} } @article { author = {Talebpour, Faride and Khataee, Susan}, title = {Comparative Study of Designs between Safavid and Gorkanid Brocades}, journal = {The Monthly Scientific Journal of Bagh-e Nazar}, volume = {9}, number = {22}, pages = {11-22}, year = {2012}, publisher = {Nazar Research Center for Art, Architecture and Urbanism (NRC)}, issn = {1735-9635}, eissn = {2251-7197}, doi = {}, abstract = {Safavid era is a very important period for Iranian weaving industry.  Many kinds of luxury fabrics were produced in different cities during this era.  In fact, the weaving of all types of fabrics were developed rapidly under patron of Safavid kings.   Two important luxurious fabrics at the time were velvets and brocades.  Brocade weaving was at its climax of prosperity during the Safavid era.        The Safavid kings in Iran were considered to have close ties to the Gorkanid (Moghols) kings in India.  This was mostly due to the cultural, political and social affinities between two dynasties at the time.   It was therefore natural for artists to commute frequently between the two countries.  This led to the development of common motifs and designs in artistic works, especially in woven products, of Iran and India.      Fabrics have always been an important component of Indian and Persian civilizations.  In the Gorkanid era (16th-17th centuries A.D.) a diverse range of fabrics were produced.  Remains of the fabrics obtained in India show that they were generally produced with the finest quality and usually contained decorative motifs including flowers, animals and geometrical patterns.   The present research was carried out through the historical and comparative methods.  According to the library resources and pictures, the Indian brocade fabric designs were extracted and studied and then compared with those of Iranian artists to reveal the influence of Persian arts on Indian fabrics.  Brocade is a silk golden fabric woven with supplementary weft yarn named “zari”, a golden (silver) core yarn, to produce golden designs and luxury fabric used by king and royal family.  The weft yarns were used for fabric decoration. The main warp and weft threads of the fabric are silk yarns.   Brocades were famous for the excellence of the weaving techniques and designs which were comprised of flowers, birds, animals and human figures.  The most important specifications of Indian brocades can be classified as: content, techniques, aesthetics, designs, decorative elements and styles.     Brocade designs are very diverse. A common design is called framed design that consists of small frames on the surface of the fabric.  Each small frame can be filled with one common motif or different motifs. Motifs included human figures, animals, flowers, etc.   These kinds of designs are very common in Iranian fabrics.     Repeating decorative designs is another technique used in production of brocade fabrics.   This was done by, for example, repeating one small motif throughout all the surface of the fabric.  The common decorative elements are flowers, alone or with a vase.  In Persian style designs of brocade, the flowers, trees and bushes are more common.  Striped designs are also common in Indian and Persian brocades. Sometimes the strips are narrow and sometimes they are wide with designs of flowers drawn in them. These fabrics were used as wall hangings and curtains.   Medallion design is one of the most important decorative elements specially in carpet weaving. A circle or oval or lozenge shape was made in the centre of the fabric and then a quarter of the medallion was repeated in four corners to impart a symmetrical sense to the fabric.  Mihrab design has no pictures of human or animals and is used to produce prayer rugs in Iran.  In this style, flowers with arabesque designs were used for brocades decoration.  This style was very common in Safavid brocades. Calligraphy can be seen in Islamic arts. During Safavid period, artists used to decorate fabrics with writings.  However, in some Indian brocades writings were used to produce fabrics.  Motifs can be repeated regularly in small frames or used in different styles.  Temples became a focal point for a group of artists and they ornamented their products in different ways in temples.   The inspirations from religions, the style of life, and nature have influenced craftsmen in brocade weaving.  The amounts of decorative motifs in brocade fabrics are very high and include flowers and trees, animals and birds, human figures and geometric designs.  Iranian artists tended to use flowers such as poppies and roses and bushes as main subjects in their works.  However, other elements were later added to those designs.  The application of designs is totally with skill and attention. The repeated element is a single flower or sometimes a bunch of flowers in real or abstract forms.  Birds on the trees or flying birds are seen in brocades, as well. Also, domestic or wild animals were weaved on the main field of the fabrics such as deer and tiger.  Animals were always located in the background such as birds with trees or animals with human.  Safavid weavers used human figures in their fabrics. Symmetric or asymmetric pictures were applied in fabric designs. Human can be seen in different perspectives. Sometimes people are in a party or in a jungle for hunting or appear as personifications of characters of an old story or epic poems such as Shahnameh.  Geometrical designs are rare in brocade fabrics and usually are circle, dots, lines, zigzag and heart shapes.}, keywords = {Brocade- Motifs- Designs- Safavid- Gorkanid}, title_fa = {تطبیق نقوش زربفت‌های گورکانی هند با زربفت‌های صفوی}, abstract_fa = {پارچه‌های زربفت، گروه مهمی از پارچه‌های دوره صفوی است که تعداد قابل توجهی از آنها در موزه‌ها و مجموعه‌های شخصی نگهداری می‌شود. بافت پارچه زری به عنوان هنری ظریفه در ایران دوره صفویه بسیار مورد توجه قرارگرفت. در این دوره، روابط مناسبی بین پادشاهان صفویه و حکام گورکانی هند برقرار بود و هنرمندان دو کشور با یکدیگر ارتباط گسترده‌ای داشتند، لذا شیوه‌های هنری آنها از یکدیگر تأثیر پذیرفتند به نحوی که می‌توان وجود نقش‌مایه‌های مشترکی را در منسوجات دو سرزمین، از جمله زربفت‌ها مشخص کرد. مطالعه و بررسی این آثار، روشنگر تأثیرپذیری پارچه‌های زری هند از پارچه‌های زری صفویه است. در این پژوهش با استفاده از روش تحقیق تاریخی، توصیفی و تطبیقی با استناد به منابع کتابخانه‌ای و تصویری، تأثیرپذیری زربفت‌های گورکانی هند از آرایه‌های تزئینی و نقوش زری‌های دوره صفوی در ایران بررسی می‌شود. مقاله حاضر می‌کوشد ضمن شناسایی و مقایسه نگاره‌ها و ترکیب‌بندی ساختار نقش زری‌های هندی گورکانی با زری‌های دوره صفوی، نقوش آنها را براساس مضامین و موضوعات به کار رفته در بافت پارچه‌ها، دسته بندی و شناسایی کند. این بررسی نشان می‌دهد که طرح این منسوجات به نقوش ‌بندی، تصویری، راه راه، لچک و ترنج‌دار و نوشته‌دار تقسیم می‌شود. در این پارچه‌ها از عناصر تزئینی گوناگونی مانند  گل‌ها و گیاهان، جانوران، پرندگان، انسان، اشکال هندسی و نوشته استفاده شده است. طرح و نقش زربفت‌های صفوی بسیار متنوع است و در تعدادی از زربفت‌های گورکانی، نقوش گل‌ها و درختچه‌هایی دیده می‌شود که سبک آنها به گل‌ها و بوته‌های ایرانی شباهت بسیاری دارد.}, keywords_fa = {Brocade- Motifs- Designs- Safavid- Gorkanid}, url = {http://www.bagh-sj.com/article_1881.html}, eprint = {http://www.bagh-sj.com/article_1881_886398c5eceee873aa6c71ebc9a3352e.pdf} } @article { author = {Zarkesh, Afsane}, title = {Influence of Architecture of Governmental and Public Buildings on Private Buildings in the Second Pahlavi Era}, journal = {The Monthly Scientific Journal of Bagh-e Nazar}, volume = {9}, number = {22}, pages = {23-34}, year = {2012}, publisher = {Nazar Research Center for Art, Architecture and Urbanism (NRC)}, issn = {1735-9635}, eissn = {2251-7197}, doi = {}, abstract = {Private buildings comprise an important category of buildings throughout Iran’s history including during the second Pahlavi era (1941-1975).   In fact, the architecture of buildings in this era is worth studying because it has formed the basis of most of the current architecture of Iran’s buildings.  The architecture of private buildings during the second Pahlavi era was influenced by various factors including the design and structure of the governmental and public buildings.   There has been a certain degree of copying from the architecture of governmental buildings which was to some extent consistent with the climate conditions of Iran.  This indeed helped press ahead the knowledge of architecture in the country.     Accordingly, the stage was set for the development of a non-indigenous expertise which has live up to today. Therefore, it is important to study the roots of what eventually formed the architecture in Iran.  This is the core objective of the present research.  In fact, it tries to find out the reasons for the influence of the architecture of governmental and public buildings on the architecture of certain private buildings.  The research is based on applied historical, causative, descriptive and analytical methods. Also, data collection is based on library research and interviews with experts.     The study and findings reveal that there are four reasons for this influence: 1) Characteristics of the governmental and public buildings, 2) Characteristics and situation of the private section; 3) Intermediate factors, and 4) Marginal and background factors.  The latter factor has been the most effective and the second factor has been the least effective in this regard.    In other words, facilities and conditions such as “factors which lead communities toward a new culture and …”, “the new aesthetic view out of the modern technology and industry”, “promotion of new cultural viewpoints and …”; “financial recourses as well as their determinants of their amounts and …” and “the quality of the political organization of the country” are of special importance concerning the architecture influences.   In addition, the influencing factors i.e. characteristics of the governmental and public buildings have been more effective than the influenced factors, i.e. characteristics and situation of the private section.  Also the direct effect of the governmental and public buildings has been more serious than indirect effect of the intermediate factors. Moreover, studies show that the most effective indices in the framework of the related factors are as follows: building age, conformity with the aesthetic views of the wealthy class of the society, and their will for pattern-making, some private buildings which have been influenced by the public building, promotion of the new cultural approaches, etc.     The other effective factors on the architecture of the private buildings under the influence of the public buildings in the second Pahlavi dynasty are: perfect dependency of the country’s economic and political organization, extreme tendency toward the West, promotion of the new cultural approaches, concentration of the activities in large cities specifically Tehran and the related migration, private buildings, none-expert people, and researches on architecture.  It must be noted that there is a difference between the private-public buildings and the architecture of the private residential buildings.}, keywords = {influence factors,governmental buildings,private buildings,second Pahlavi era}, title_fa = {علل تأثیر معماری بناهای دولتی و عمومی بر معماری بناهای خصوصی در دوره پهلوی دوم}, abstract_fa = {ابنیه خصوصی یکی از اقسام بناها را در تمامی دوره‌های تاریخی ایران از جمله عصر پهلوی دوم تشکیل می‌دهند که در جایگاه خویش حائز اهمیت است. معماری بخش خصوصی در این دوره که قسمی از آثار و معماری خصوصی امروز را نیز شامل می‌شود تحت تأثیر عوامل متعددی شکل گرفته است که یکی از آنها، معماری ساختمان‌های دولتی و عمومی (به همراه عوامل دیگر) است. گرچه الگوبرداری از ابنیه دولتی و عمومی، پیشرفت‌ها و امکانات تازه‌ای در معماری و در مواردی هم‌خوانی با اقلیم را در پی داشته لکن از آنجا که موجب رواج معماری غیرخودی و دارای هماهنگی اندک با اقلیم شده و تا به امروز نیز ادامه یافته است، ریشه‌یابی این تأثیرپذیری اهمیت می‌یابد. لذا هدف این تحقیق، هدف دستیابی به علل و میزان تأثیر معماری برخی از ابنیه دولتی و عمومی بر معماری بعضی از بناهای خصوصی و شناخت و بررسی آنهاست. به این منظور روش‌های تحقیق تاریخی، علّی، توصیفی و تحلیلی بکار رفته‌اند. روش‌های گردآوری اطلاعات منابع کتابخانه‌ای و پرسش از صاحب‌نظران بوده است.  بررسی‌های انجام شده و نتایج بدست آمده نشانگر آن است که چهار عامل اصلی شامل خصوصیات بناهای دولتی و عمومی، ویژگی‌ها و شرایط بخش خصوصی، عوامل واسطه‌ای، و عوامل جانبی و زمینه‌ای در حد تقریباً متوسط موجود بوده‌اند که تأثیرپذیری را سبب شده‌اند. عامل جانبی بیشترین دخالت و عامل بخش خصوصی کم‌ترین نقش را داشته ‌است. یعنی اثرگذاری به ویژه به سبب فراهم آمدن امکانات و شرایط مانند "عوامل سوق دهنده جامعه به سمت فرهنگ جدید و ..." ، "اشاعه دیدگاه‌های فرهنگی نو و ..." و "منابع تأمین کننده درآمد کشور و تعیین کننده میزان آن و ..." بوده است. همچنین بررسی شاخص‌ها نشان می‌دهد برخی از شاخص‌هایی که بیشترین نقش را در عامل مربوط به خویش داشته‌اند عبارتند از : تازگی بنا، خواست قشر مرفه برای الگوبرداری، بعضی از بناهای خصوصی اثر پذیرفته، ترویج دیدگاه‌های فرهنگی جدید، تبلیغ زیاد مصالح و ... ، داشتن تحصیلات عالیه و ... عوامل دیگری که در عصر پهلوی دوم بر معماری اماکن خصوصی متأثر از بناهای دولتی و عمومی اثر گذاشته‌اند عبارتند از : وابستگی تام سازمان اقتصادی و سیاسی کشور، گرایش افراطی به غرب، اشاعه دیدگاه‌های فرهنگی جدید، تمرکز فعالیت‌ها در شهرهای بزرگ به ویژه تهران و مهاجرت به این شهرها، ابنیه خصوصی، افراد غیرمتخصص، و پژوهش‌ها در حیطه معماری. لازم به ذکر است که بین ابنیه خصوصی ـ عمومی با معماری بناهای مسکونی خصوصی تفاوت وجود دارد که در این خصوص ویلاهای شخصی و خانه‌های بساز و بفروش مستثنی می‌شود.}, keywords_fa = {influence factors,governmental buildings,private buildings,second Pahlavi era}, url = {http://www.bagh-sj.com/article_1882.html}, eprint = {http://www.bagh-sj.com/article_1882_06be44ad9062ff072fc29ec010cd2c7d.pdf} } @article { author = {Pouryousefzadeh, Sara and Bemanian, Mohammadreza and Ansari, Mojtaba}, title = {Principles of Landscape Restoration in Natural and Historical Sites}, journal = {The Monthly Scientific Journal of Bagh-e Nazar}, volume = {9}, number = {22}, pages = {35-44}, year = {2012}, publisher = {Nazar Research Center for Art, Architecture and Urbanism (NRC)}, issn = {1735-9635}, eissn = {2251-7197}, doi = {}, abstract = {Bisotun site as an outstanding universal value and a testimony to the ancient Persian civilization is inscribed on ICOMOS world heritage list (2006, No 1222).   As wildlife refuge, Bisotun site is comprised of unique ecological values. The present article emphasizes on the role of landscape architecture in converging natural and cultural aspects in a cohesive restoration plan, providing the basis for reducing current ecological issues, promoting cultural identity and improving prosperity of the living condition of the impoverished people in the region.  The present article has tried to use a descriptive-analytic method to present and codify the landscape restoration principles in natural-historical site of Bisotun.   1.      Site: Bisotun historical site is located 30 kilometers northeast of Kermanshah in western Iran. Bisotun, which means “the place or stand of the God(s)”, has been of mythological value throughout Iran’s ancient history. This site is located along the ancient trade route linking the Iranian high plateau with Mesopotamia. The core zone (ca 1200 x 500m) covers the heart of the archaeological site. "This site has remained from the prehistoric times to the Median, Achaemenid, Sassanian, and Ilkhanid periods. The principal monument is the bas-relief and cuneiform inscription ordered by Darius I, the Great, in 521 BC, serving as a testimony to Persian civilization and one of the world’s most creditable historic evidences, that has been inscribed in world heritage ICOMOS list (2006. No 1222).  In fact, the natural features of Bisotun region were an introduction to the formation of culture and human history in this region.  At least 28 historical-artistic elements in this region have so far been inscribed by the Cultural Heritage Organization of Iran.  Bistoun comprises various key characteristics which have already made it a unique place across Iran’s ancient history.  They include various ecological and aesthetical features, several caves deep inside the mountain and also Gamas-Ab and Dinevar-Ab rivers, native vegetation and wildlife features which had motivated the building of bridges and hydro-plants for Sasanian kings.  Furthermore, there are many fictions and folklores mingled with Bisotun.  This cultural landscape had already provided a better meaning to the concept of "nature".  Although this unique mountain lays in a historical silence, in fact this silence is replete with many unknown mysteries.   2.      Current situation:  Today, despite the ecological and cultural potentials, Bisotun faces many environmental problems and a large part of its natural resources is at the risk of destruction due to the excessive industrialization occurring in the region. Although this unique wildlife refuge is in danger, new factories are still built in its landscape boundaries and nature destruction has proved to have already had long lasting effects on local economy.  The main question that the present research deals with is whether it would be possible to see the culture and nature of Bisotun in a dynamic interaction with each other and if it would be possible to study the aspects of historic restoration and natural regeneration in a cohesive approach of "Bisotun cultural landscape restoration".  A descriptive-analytic method has been applied to present and codify the design principles in this site.  The survey of the site has been carried out in the following two phases: a)      Natural landscape study:  In this phase, Bisotun’s protected area which comprises 120,000 acres of area embracing some parts of Bisotun meadow and Gamas-Ab River which are located near Bisotun historical site are studied. b)      Historical landscape study: In this phase, the national and world defined boundaries of Bisotun historical site and the trail of ancient route that contains 3,700 acres of natural landscape are studied.   Research results show that during the last 50 years, the natural-historical characteristics of Bistoun site have lost their coherence and unity.  It is generally believed that when a cultural landscape loses its unity and is denied the care it deserves, it cannot preserve its magic and the spirit of place which originally belonged to it.  Unfortunately, the construction of inter-city freeway through the ancient site, dumping industrial sewage in nearby rivers, leveling the lands and destroying the pastures are all examples of negligence to the language of the landscape in the region.  In fact, all of these factors have influenced the glory and elegance of the landscape; the elegance which attracted Iranian kings and artists to Bisotun in the past.}, keywords = {Landscape restoration,Historical landscape,Natural landscape,ecology,Bisotun}, title_fa = {معیارهای مرمت منظر محوطه‌های تاریخی و طبیعی با تأکید بر محوطه بیستون -کرمانشاه}, abstract_fa = {منطقة بیستون جزو مناطق منحصر به فرد در کشور و حتی جهان است که آمیختگی تاریخ و طبیعت، فرهنگ و افسانه را یک جا به نمایش می‌گذارد. این منطقه به عنوان پناهگاه حیات وحش از یک‌‌سو ارزش‌های طبیعی منحصر به فردی دارد و از دیگر سو دارای آثار تاریخی با ارزش جهانی است. در این مقاله به نقش معماری منظر به عنوان پیونددهنده و احیاکنندة ارتباط بین لایه‌های طبیعی، تاریخی و روایت‌های داستانی منظر در چارچوب دیدگاه جامع‌نگر "مرمت منظر" تأکید شده است. این پژوهش با هدف بازشناسی طبیعی و فرهنگی منطقه بیستون که عرصه‌ای مناسب برای طرح دیدگاه جدید مرمت منظر به محوطه‌های تاریخی و طبیعی است به بررسی بوم‌شناسانة لایه‌های این محوطه پرداخته است تا از این رهگذر راهکارهایی عملی در مرمت جامع منظر بیستون به دست آید.   در این مقاله ابتدا به طرح موضوع و روش تحقیق اشاره می‌شود و پس از واکاوی مفهوم واژه‌های مرمت بوم‌شناسی و مرمت منظر، اصولی برای مرمت جامع منظر به دست می‌آید. در ادامه به تحلیل بوم‌شناختی منطقه پرداخته و با توجه به ارکان مرمت منظر که شامل انسان، طبیعت، فرهنگ و تاریخ است، نقاط ضعف، قوت، فرصت‌ها و تهدیدات طبیعت و فرهنگ منطقه در دو جدول جمع‌بندی می‌شود. از آنجا که تأکید دیدگاه مرمت منظر به بازخوانی و احیای تمامی لایه‌های منظر است، در انتها با کنار هم قراردادن اصول مرمت منظر و مطالعات بوم‌شناسانة سایت، معیارهای مرمت منظر طبیعی و فرهنگی بیستون به دست می‌آید. نتیجه کلی آنکه صرفاً با مرمت تمامی لایه‌های موجود در منظر و درک رابطة بین آنهاست که می‌توان به احیای جامع محوطه‌های تاریخی و طبیعی دست یافت. در این پژوهش از روش تحقیق توصیفی‌ـ تحلیلی در بستری از مطالعات کتابخانه‌ای و همچنین مشاهدات میدانی متعدد بهره گرفته شده است.}, keywords_fa = {Landscape restoration,Historical landscape,Natural landscape,ecology,Bisotun}, url = {http://www.bagh-sj.com/article_1883.html}, eprint = {http://www.bagh-sj.com/article_1883_5a3f88df57c934e6bf70a8f99634d35e.pdf} } @article { author = {Seyed- al hoseini, Seyed Moslem and Habib, Farah and Majedi, Hamid}, title = {Application of Design-Based Planning as Interactional Approach in Macro and Micro Scale Plans}, journal = {The Monthly Scientific Journal of Bagh-e Nazar}, volume = {9}, number = {22}, pages = {45-54}, year = {2012}, publisher = {Nazar Research Center for Art, Architecture and Urbanism (NRC)}, issn = {1735-9635}, eissn = {2251-7197}, doi = {}, abstract = {The aim of this research is to integrate the processes of urban designing and urban planning to increase the quality of urban environments.  To do that, the present research has tried to compare the differences between the current urban design tendencies and styles in various strategic planning frameworks. Also, this research examines the implementation of designing in urban planning processes in Iran.    A review of the process of urban planning and an assessment of the technicalities of development plans over the past five decades in Iran confirm that these processes are not responding properly to the quality aspects of urban areas.  The current situation stems from numerous reasons which could be found in rational nature or scheming process, survey, approval and implementation of plans. To confront these problems and to provide a new process which could encompass both city planning and designing, the present research has studied the traditions of city planning process.  The purpose of doing this was to link both urban planning and design tendencies.  In practice, this approach can have positive outcomes at all levels of new strategic planning hierarchy and policy oriented urban design.   In urban development plans, enhancing the urban environment qualities is a significance challenge for planners and designers.  The status quo of Iran shows that those plans have less been successful in creating qualitative urban environment.  Therefore, the experts and professionals have over the recent years called for conducting qualitative approaches to designing and planning urban environments in different scales.   There is an essential need to analyze the application of urban designing in Iran.  The research question intends to understand how urban designing is utilized in the processing of development planning in Iran. The literature review published on urban designing provides not only an acceptable model for further researches (Wolff 1970, Shirvani 1981,Varkki 1977, Punter 1999,Carmona 1997) but also operational definitions of the components of this process.    The study uncovered a large body of literature pertaining to urban designing.  The literature, however, was in many respects confusing and contradictory with regards to the nature of implementing urban designing by public officials.  The literature review revealed that there are many different approaches for defining the tools for urban designing.  These tools yield a wide variety of terminology and jargon used to describe implementation procedures.    The methodology of this research is a qualitative method and especially content analysis technique to extract the essence of plans also their objective. This thesis makes use of this literature to examine this process on a recently completed development plans in Mashhad in Iran.  This paper examines the tools of urban design utilized by planners in development plans.  The paper identifies the lack of agreement within academic writing defining the role, practice and function of urban design as a source of confusion for the study of professional practice.   Findings of the present research identified that there are four important factors which are necessary to enhance the quality of urban environment.  They included incorporating urban design in the macro scale levels of planning, exploiting professionals in the process of development planning, facilitating the participation of stakeholders, clients, and laypeople in the process of planning, and using adaptability in planning and change management.  The results of this research show that the interaction between planning and designing process is necessary and also comprise a significance factor to guaranty the success of planning and designing program in Iran.   Results of this research could be applied in urban planning as a guideline to harmonize urban development plans.  Additionally, it could help identify challenges for planning in Iran.  The findings of the present research have confirmed Varkki`s argument and support the need for increased attention of scholarly research over the procedure elements of urban design.}, keywords = {Words: Evaluation,Environment Quality,interactional approach in macro and micro scales,Urban planning,Urban Design}, title_fa = {رویکرد تعاملی سطوح و مقیاس طراحی شهری در فرآیند برنامه‌ریزی}, abstract_fa = {ارتقاء کیفیت محیط شهری از دغدغه‌های اصلی شهرسازی و هدف اصلی تمام طرح‌های توسعه شهری است. در ارزیابی و تجارب ماحصل از اجرای طرح‌های توسعه شهری در جهان و به ویژه کشور ما این موضوع اثبات شده است که طرح‌های مزبور در خلق محیط شهری واجد کیفیت، توفیق کمی داشته‌اند. با این ضرورت در سال‌های اخیر، اندیشمندان مختلف شهرسازی، از حضور تفکر کیفیت‌گرای خاص طراحی شهری، در تمام مقیاس‌های [کلان و خرد] طرح‌های توسعه شهری برای ایجاد محیط واجد کیفیت حمایت کرده‌اند. این مقاله با روش مطالعة تطبیقی و تحلیل محتوای متون و مفاهیم مؤثر در تحول طراحی شهری و مقایسة آن با گرایش‌ها و گونه‌های مختلف طراحی شهری در چارچوب برنامه‌ریزی   راهبردی و با استفاده از تجربیات پیشین با تلفیق فرایند طراحی شهری و برنامه‌ریزی   شهری، و با هدف ساخت تصویری از یک رویکرد نوین و امید‌بخش برای کاربست عملی طراحی شهری در طرح‌های توسعه شهری به منظور ارتقاء کیفیت محیط شهری شکل گرفته است. یافته‌های این تحقیق نشان می‌دهد که طراحی شهری در حوزه کلان مقیاس دارای تولیدات کاربردی است که می‌تواند به ارتقاء کیفیت محیط کمک کند، تحقق عملی این رویکرد بسته به پذیرش و رعایت پنج مؤلفة ذیل است : الف. حضور اهداف طراحی شهری در طیف مقیاس برنامه ریزی، ب. پیوند حرف و همکاری تخصص‌های مختلف در موضوعات طراحی شهری، ج. مشارکت پذیری عمومی درطراحی، د. وجود سطوح و سلسله مراتب مقیاس طراحی شهری، ه. پشتیبانی از موضوعات طراحی شهری. نتایج این مقاله نشانگر تعامل بین طراحی شهری و برنامه‌ریزی   شهری در مقیاس کلان و خرد به عنوان یک ضرورت در نظام توسعه شهری است وکاربست مولفه های فوق تضمینی برای عملی نمودن این رویکرد و کارامدی طرح‌های توسعه شهری است}, keywords_fa = {Words: Evaluation,Environment Quality,interactional approach in macro and micro scales,Urban planning,Urban Design}, url = {http://www.bagh-sj.com/article_1885.html}, eprint = {http://www.bagh-sj.com/article_1885_e2382c0401c7d0626d0459fa3c4cfcaf.pdf} } @article { author = {Adib, Morteza}, title = {Landscape Architecture and methods of managing the body of knowledge in design process}, journal = {The Monthly Scientific Journal of Bagh-e Nazar}, volume = {9}, number = {22}, pages = {55-64}, year = {2012}, publisher = {Nazar Research Center for Art, Architecture and Urbanism (NRC)}, issn = {1735-9635}, eissn = {2251-7197}, doi = {}, abstract = {Landscape Architecture is a young discipline, yet it is still in the process of continuous evolution.  Because of their special reciprocal relationship to practice, applied disciplines like landscape architecture draw many, if not most, academic research questions from problems and opportunities encountered by professionals in the field of practice. Landscape architecture is closely related to architecture in many aspects.  This is particularly the case when considering that both deal with creation and management of space.   Nevertheless, the domain of activity of in natural and man-made open spaces in relation to a broad variety of processes and flows in these environments, leads to some specific characteristics for landscape architecture and makes landscape architects to learn and apply a wide body of knowledge in the fields of human behavior, art, history, ecology and engineering.   Recent decades have seen an unprecedented increase in the standards and complexity of disciplinary expertise and with that comes increasing pressure to formalize the ways in which we seek, create, and validate knowledge. Therefore, the main question about landscape architecture and its related body of knowledge is how to manage and balance this rather large body of knowledge.  Accordingly, the present article tries to answer some other questions related to the question, including: “What is landscape architecture and its key characters? “What are the main abilities and skills which landscape architects must learn?” and “How it is possible to manage the body of knowledge and make it applicable in profession and teachable to students?”   The present article starts with a review on concepts of "Landscape" and "landscape architecture" and official and academic definitions of landscape architecture and its domain.  It later tries to remove obscurity about landscape architecture, and its related body of knowledge.  It seems that the most essential part of landscape architects' professional identity is considered to be the ability to solve design problems through creative management of the body of knowledge regarding each project.   Four realms of knowledge are identified in applied research situations: tacit knowledge, the implicit taken-for-granted knowledge of practice; conceptual knowledge, which makes tacit knowledge explicit and codifies it as principles and protocols; systematic knowledge, which is also explicit and formally expressed, validated, and integrated into the core of the discipline; and operational knowledge, through which systematic knowledge and conceptual knowledge are translated into different realms of practice.   Transformation of these forms of knowledge in landscape architecture happens through a process of learning and design.   The next step of this research is a review on different design processes and introducing some new approaches in landscape architecture, regarding methods of managing the body of knowledge through systematic thinking, modeling and patterns. Architectural methods of work are older than landscape architectural design and usually what landscape architects do is very similar to architectural design. Nevertheless, as mentioned earlier, there is a need for landscape architects to have some special method for managing different fields of knowledge and using them in design.   One of these different design methods was introduced by Mc Harg in 1969.  His Analytical extraction of landscape into thematic layers was not just as a part of an analytical process but as a creative part of combining new layers back into a new landscape.  It made changes in how landscape architects think about design. Turner summarizes the differences between methods of landscape architectural design with differences between SAD and PAKILDA.      SAD or Survey-Analysis-Design method, dominated landscape design in the second half of the twentieth century, and it is a linear process of design consisting of a shallow analysis of data gathered in survey and sometimes this analysis is forgotten in the creative process of design.  However, PAKILDA or Pattern-Assisted-Knowledge-Intensive-Landscape-Design-Approach applies the concept of pattern for managing the wide domain of landscape knowledge and uses different kinds of models in a cycling process of design. Pattern was used by Christopher Alexander in a “pattern language” for describing complex relations of concrete entities in different environments as a tool in the hand of architect, and it seems that Turner borrowed this concept for landscape architecture design process.   One of the recent design methods, which is perfectly matched with Turner’s PAKILDA is Steinitz’s models method. This method consists of a six-level framework that organizes questions associated with a landscape design problem.  Each has an associated modeling type.  The framework can be used to integrate applicable knowledge and also to identify areas where contributions of theory are needed. Systematic thinking through the design process, using pattern and models is a framework applicable for landscape design and its education.  Developing analytic and creative models for describing different steps of the design process is the main core of the frameworks which can enhance artistic aspects of design in landscape architecture.}, keywords = {Landscape architecture,Body of Knowledge,systematic thinking,Model,pattern}, title_fa = {معماری منظر و شیوه‌های مدیریت دانش در فرآیند طراحی}, abstract_fa = {معماری منظر رشته‌ای جوان در  عرصه حرفه‌های مرتبط با طراحی محیط به شمار می‌آید و هنوز در حال طی مراحل تکامل خویش است. هر چند معماری منظر در بسیاری از مباحث، به ویژه در زمینه مفاهیم مربوط به خلق و سازماندهی فضا و مکان، قرابت بسیار زیادی به معماری دارد، لیکن عرصه فعالیت آن در محیط‌های باز طبیعی و مصنوع و ارتباط ناگزیر آن با فرآیندهای جاری در این عرصه، باعث ایجاد خصوصیات ویژه‌ای برای آن شده است. این خصوصیات ویژه معماران منظر را به آشنایی با طیف وسیعی از دانش وا می‌دارد. مهم‌ترین سؤال پیش رو چگونگی ایجاد تلفیق و هماهنگی میان موضوعات گوناگون و دانش وسیع مرتبط با معماری منظر است. همچنین سؤالات دیگری در این زمینه مطرح می‌شوند. معماری منظر چیست و خصوصیات کلیدی آن کدام است؟ مهارت‌ها و بدنة دانشی که معمار منظر باید آنها را بیاموزد کدام است؟ چگونه می‌توان به این حدود دانش نظم بخشید، آن را به کار گرفت و آموزش داد؟ بدین ترتیب این مقاله می‌کوشد با معرفی اجمالی معماری منظر و حوزه‌های فعالیت آن به رفع برخی از ابهامات در زمینه ویژگی‌های خاص این رشته و وجوه تمایز آن با دیگر رشته‌ها و همچنین تبیین دانش مرتبط با این رشته اقدام کند. به نظر مهم‌ترین ویژگی حرفه‌ای معماران منظر در حل مشکلات از طریق مدیریت خلاقانه حدود دانش در ارتباط با موضوع است. لذا در ادامه ساز و کارهایی با تکیه بر مفهوم نگرش سیستماتیک، مدل‌سازی و الگو برای غلبه بر مشکل پیچیدگی و گستردگی مفاهیم در جریان طراحی مورد بررسی قرار می‌گیرد تا با پیوند آنها بتوان در نهایت چارچوبی مناسب و قابل تعمیم برای بکارگیری در طراحی منظر و آموزش آن پیشنهاد کرد.  }, keywords_fa = {Landscape architecture,Body of Knowledge,systematic thinking,Model,pattern}, url = {http://www.bagh-sj.com/article_1886.html}, eprint = {http://www.bagh-sj.com/article_1886_73f21c8c180b748eb7c2a6d1e6bb584d.pdf} } @article { author = {Alehashemi, Ayda}, title = {Qazvin Boulevard: A Garden inside Qazvin}, journal = {The Monthly Scientific Journal of Bagh-e Nazar}, volume = {9}, number = {22}, pages = {65-74}, year = {2012}, publisher = {Nazar Research Center for Art, Architecture and Urbanism (NRC)}, issn = {1735-9635}, eissn = {2251-7197}, doi = {}, abstract = {Qazvin Boulevard, located in Iran’s northern city of Qazvin, was constructed by the Safavid king Shah Tahmasb. Some compare it in similarity with Chahar-Baq Boulevard in Isfahan and some others even consider it as the first boulevard in Iran’s urban spaces.  A significant point about this boulevard is its spatial structure and function.  In other words, there is currently an urgent need to study what constitutes the spaces and functions of this city structure – today called Sepah Boulevard.  Also important is the materials used in construction of this boulevard as well as the size and composition of those materials.   These are all questions that the present article tries to answer by referring to historical records.  The article also tries to present an overview of the spatial structure of boulevards during the Safavid era.   In conclusion, various facts are presented to explain what has made Qazvin Boulevard a key public place inside the city.  Also, it is explained how different elements of Persian architecture like garden paths have been put together in this structure whose construction is a great deal based on a recreational approach.     The current research further shows how Qazvin Boulevard paved the way for the construction of similar structures in other cities of Iran, specifically during the reign of Safavid king Shah Abbas, in what was later known as Khiyaban.     This research mainly aims to highlight the basic elements and the components that shape this structure.  A comparison is also made with similar spaces in Persian gardens which are believed to date back to at least 2000 years ago.     Khiyaban, as the present research shows, was an urban and a public space during the Safavid ear for leisure activities.  Its physical elements such as the positioning of two lines of  trees on both sides and also the plan of this space shows that Khiyabans were constructed for special purposes at the heart of the city of Qazvin during the Safavid era.  One apparent purpose was to display the glory of the king and this was done by leading the Khiyaban to the palace of the king.   In conclusion, the present article compares the physical and conceptual pattern of Qazvin Khiyaban with the similar spaces in Persian garden and in the Iranian cities before and after the Safavid era.  It eventually becomes clear that the Qazvin Khiyaban has effectively laid the foundations for such spaces in Iranian cities.  This is particularly the case when considering that the Khiayaban has used the physical and conceptual patterns in Persian gardens.}, keywords = {Qazvin,image of Khiyaban,Abdi Beyk Shirazi,Persian garden,diaries of Europeans on Qazvin}, title_fa = {بازخوانی خیابان قزوین با تکیه بر اشعار عبدی بیگ و سایر مکتوبات موجود}, abstract_fa = {خیابان قزوین که امروز با نام خیابان سپه در شهر قزوین به آن اشاره می‌شود از مستحدثات شاه‌طهماسب صفوی در شهر قزوین به‌شمار می‌رود. بسیاری خیابان قزوین را نیای خیابان چهار باغ صفوی (شاه‌عباسی) اصفهان برشمرده و گروهی حتی از آن به عنوان اولین خیابان در فضای شهری ایران یاد می‌کنند1.  در این میان آنچه کمتر به آن پرداخته شده است، شناخت و معرفی ساختار فضایی خیابان قزوین است. اینکه خیابان قزوین چه فضاها و عملکردهایی را در خود جای داده بود و چه عناصر کالبدی شکل‌دهندة آن و اطرافش بوده‌است در کنار شکل و تناسبات آن در هنگام ساخت و همچنین الگوی کالبدی شکل‌گیری چنین فضایی، مواردی‌ هستند که نیاز به پاسخگویی دارند. این همه سؤالاتی است که این نوشتار تلاش می‌کند تا با رجوع به مکتوبات تاریخی و ادبی در مورد «خیابان قزوین» و انطباق آن با فضاهایی مشابه در آن زمان و پیش از آن، برای آنها پاسخی بیابد و سیمایی از ساختار فضایی آن را در دوره صفوی ترسیم کرده و الگوی فضایی چنین ساختاری را مورد پژوهش قرار دهد. در نهایت کنار هم نهادن مستندات و نگاه تحلیلی این پژوهش نشان می‌دهد که «خیابان قزوین» به عنوان فضای شهری و جمعی به منظور گردش مردم شهر طراحی و برنامه‌ریزی شده،‌ و با بهره‌گیری از عنصر خیابان در باغ ایرانی و ویژگی‌های کالبدی آن فضایی برای تفرج مردم در شهر را مهیا ساخته است که بعدها و به خصوص در زمان شاه‌عباس صفوی شاهد ادامه حضور پررنگ و برنامه‌ریزی شدة این عناصر و ویژگی‌ها در فضاهایی با عنوان «خیابان» در سایر شهرهای ایران از جمله اصفهان، تبریز، مشهد، شیراز و... هستیم.}, keywords_fa = {Qazvin,image of Khiyaban,Abdi Beyk Shirazi,Persian garden,diaries of Europeans on Qazvin}, url = {http://www.bagh-sj.com/article_1888.html}, eprint = {http://www.bagh-sj.com/article_1888_2e1d78d83d7c575c69f5a0eec54566c5.pdf} }