ORIGINAL_ARTICLE
Explanation of Fractal Geometry Laws in the Structural Form of Architecture; Presentation of a Form-Based Architecture Model
Problem statement: From the perspective of modern sciences, fractal knowledge is a study of self-similar and self-organized structures that are the conceptual core of understanding nature’s geometry. From a mathematical viewpoint, nature follows fractal rules to create different forms. In this rationale, a direct interaction between architecture and fractals can be proposed.Research objective: This research, by posing questions about how fractal geometry is applied, explains the geometric laws of nature in the process of self-organizing in form-based architecture.Research method: This applied research employs the method of correlation in applying geometries according to fractal properties conducting a qualitative, phenomenological view. In this study, seven stages are explained in fractal geometry as a form-based structure. These stages in form-finding, the hierarchy of connections, and geometric progressions provide a credible process in the application of fractal geometry to architecture. In addition, an architecture inspired by principles of nature’s geometry is based on three laws and functions in structure as described by the research: the law of self-similarity, the law of self-organization, and the law of unity. To validate these laws, three buildings are selected from the Gothic, Art Nouveau, and traditional Persian architecture periods, according to fractal properties. Fractal rules are analyzed in the evaluation of these structures using a comparative-descriptive model.Conclusion: Based on the results, it can be concluded that fractal geometry has been incorporated into the structure, elements composition, and aesthetic concepts of ornamentation in the architecture of these edifices. Inspired by nature’s geometry, laws of proportions, rhythm, and self-similar forms, these architectural structures have created a wide range of fractal patterns, generating internal connections and external unification among the structural elements and architectural forms.
http://www.bagh-sj.com/article_99230_cbc3a5fbb3d03a9a6aba5a6144d9edab.pdf
2020-05-21
5
18
10.22034/bagh.2019.125370.3509
self-similarity
Self-Organization
unity and plurality
structural form
fractal geometry
Farnaz
Farshid Rad
farnazfarshidrad@yahoo.com
1
Ph.D. Student, Department of Architecture, UAE Branch, Islamic Azad University, Dubai, United Arab Emirates.
AUTHOR
Iraj
Etessam
irajetessam@yahoo.com
2
Professor, Department of Architecture, Science and Research Branch, Islamic Azad University, Tehran, Iran.
LEAD_AUTHOR
Vahid
Ghobadian
v_ghobad@yahoo.com
3
Assistant Professor, Department of Architecture, Central Branch, Islamic Azad University, Tehran, Iran.
AUTHOR
فهرست منابع
1
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تقوائی، ویدا. (۱۳۹۱). از نظم تا بینظمی در طبیعت و معماری. هویتشهر، 6(۱۱)، 39-52.
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Jencks, C. (2011). The Story of Post-Modernism: Five Decades of the Ironic, Iconic and Critical in Architecture. Sussex, UK: Wiley.
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Joye, Y. (2007). A Tentative Argument for the Inclusion of Nature-Based Forms in Architecture. Ph.D. Dissertation. Faculty of Arts and Philosophy. Universiteit Gent, Belgium.
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Mandelbrot, B. (1983). The Fractal Geometry of Nature. New York, US: W.H. Freeman.
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Masia-Freixa. Retrieved May 8, 2020, from: http://www.catalunya.com/masia-freixa.
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Montferri Church. Retrieved May 8, 2020, from: https://commons.wikimedia.org/wiki/Category:Mare_de_Déu_de_Montserrat_de_Montferri.
26
Moussavi, F. (2009). The Function of Form. Harvard Graduate School of Design: ACTAR.
27
Nasir-al-Mulk Mosque. Retrieved May 8, 2020, from: http://www.kindiran.com/en/Gallery/The-Nasir-al-Mulk-Mosque.
28
Order-8_triangular_tiling. Retrieved May 8, 2020, from: https://en.wikipedia.org/wiki/Order-8_triangular_tiling.
29
Pantano, M. (2013). Reading Gaudi’s Great Book of Nature: Reconsidering the Peripheral Reception of Proto-Environmental Architecture. US: University of Pennsylvania.
30
Parabola- Hyperbola. Retrieved May 8, 2020, from: http://mathworld.wolfram.com/Parabola.html–Hyperbola.html.
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Ramzy, N. S. (2015). The Dual Language of Geometry in Gothic Architecture: The Symbolic Message of Euclidian Geometry versus the Visual Dialogue of Fractal Geometry. Sinai University, Egypt.
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Rose. Retrieved May 8, 2020, from: http://mathworld.wolfram.com/Rose.html.
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Ruskin, J. (1857). The Elements of Drawing. London, UK: Spottiswoode & Co.
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Sagrada Familia Basilica. Retrieved May 8, 2020, from: https://sagradafamilia.org/en/photo-gallery.
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Sala, N. (2006). Fractal Geometry and Architecture: Some Interesting Connections. Mendrisio, Switzerland: Università Della Svizzera Italiana.
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Santa Barbara Cathedral. Retrieved May 8, 2020, from: http://www.khfarnost.cz/st-barbaras-cathedral.
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38
Yarnall, K.M. (2010). Barcelona’s Natural Wonder. USA: National Geographic Society.
39
ORIGINAL_ARTICLE
The Reading of Fundamentals Components of George Dickie’s Institutional Theory in the Works of Conceptual Artists
Case Study: Marcel Duchamp, Barbara Kruger and Keith Arnatt’ Works
Abstract Problem statement: Recognition and perception of contemporary Art-works including conceptual art as the first postmodern art movement can only be understood in the light of George Dickie’s institutional theory George Dickie by introducing the fundamental components of his institutional theory such as artifact, artworld and granting the artistic dignity to a work, opens way for the arrival of pre-made and readymade works to the art field. The conceptual artist such as Marcel Duchamp, Barbara Kruger, Keith Arnatt and other similar artists although might create artworks lacking aesthetic qualities , but since the world of art - which George Dickey says is composed of “Artists, Museums, Art critics, Educators, and so on” - gives these works the competency of granting artistic dignity and, as a result, they known as artworks.Research objectives: The purpose of this paper is to adapt the fundamental components of the George Dickie’s institutional theory to the artworks of some conceptual artists.Hypothesis: Since many artworks created by conceptual artists correspond to components such as artworld, artifact and the nature of artwork in the targeted institutional theory, so it would be possible to analyze and adapt the philosophy of such work to the institutional theory of George Dickey. Research method: The research work is performed by a descriptive-analytical method.Conclusion: In George Dickie’s viewpoint, the characteristics of artifact and artworld are fully compatible with the artworks of conceptual art. In fact, there is nothing in the essence of a creature or work that be able to makes it an artwork, but rather it is the artistic dignity that matters here, which can be fulfilled by components like artworld. Therefore, from this point of view, all artistic theories which are based on the aesthetics` qualities and characteristics are challenged, and thereupon the concept of good art or bad art will become out of value.
http://www.bagh-sj.com/article_105773_2eab31aaf2ef2ae2c769575ab67a863c.pdf
2020-05-21
19
28
10.22034/bagh.2020.138073.3660
Institutional theory
conceptual art
George Dickie
artifact
Artworld
Samira
Asgharpour Sarouyi
samira_asgharpours@yahoo.com
1
Ph.D. in Philosophy of Art, Science and Research Branch, Islamic Azad University, Tehran, Iran
AUTHOR
Gholamali
Hatam
hatam.gholamali@gmail.com
2
Professor, Faculty of Art Research, Central Tehran Branch, Azad University, Tehran, Iran.
LEAD_AUTHOR
Shahla
Eslami
shahla.eslami78@gmail.com
3
Assistant Professor, Department of Philosophy, Science and Research Branch, Islamic Azad University, Tehran, Iran
AUTHOR
پاکباز، روئین. (1385). دایرهالمعارف هنر. تهران: نشر فرهنگ معاصر.دیکی، جورج. (1392). هنر و ارزش. (ترجمۀ محمد روحانی). تهران: انتشارات مدرسۀ اسلامی هنر.
1
سمیعآذر، علیرضا. (1392). انقلاب مفهومی، تهران: نشر نظر.
2
کارول، نوئل. (1386). درآمدی بر فلسفۀ هنر. (ترجمۀ صالح طباطبائی). تهران: انتشارات فرهنگستان هنر.
3
هنفلینگ، اسوالد. (1389). چیستی هنر. (ترجمۀ علی رامین). تهران: انتشارات هرمس.
4
Brown, R. (2005). A Critique of George Dickie’s What is Art?. Retrieved from https://hub.wsu.edu/andersen/2005/03/01/a-critique-of-george-dickies-what-is-art/
5
Camfield, W. (1989). Marcel Duchamp. Houston: Menil Collection.
6
Carol, N. (2007). An Introduction to the Philosophy of Art. (Translated by Saleh Tabatabai). Tehran: Madrese-ye Eslami-ye Honar.
7
De Duve, Th. (1996). Kant after Duchamp. Cambridge Massachusetts: MIT Press.
8
Dickie, G. (1974). Art and the Aesthetic: An Institutional Analysis. New York: Cornell University Press.
9
Dickie, G. (1984). The Art Circle. Evanston: Chicago Spectrum Press.
10
Dickie, G. (1997). Art: function or procedure- nature or culture? Journal of Aesthetics and Art Criticism, 55(1), 19-28.
11
Dickie, G. (2001). Art and Value. Oxford: BlackWell.
12
Dickie, G. (2013). Art and Value (Translated by Mohammad Rouhani). Tehran: Matn Publication.
13
Hanfling, O. (2010). What is art? (Translated by Ali Ramin). Tehran: Hermes Publications.
14
Langer, S. (1957). Problems of Art. New York: Charles Scribner’s Sons.
15
Pakbaz, R. (2006). Encyclopedia of Art. Tehran: Nashr-e Farhang-e Moaser.
16
Sami Azar, A. (2013). Conceptual Revolution. Tehran: Nazar Publishing.
17
Shelly, J. (2002). The character and role of principles in the evaluation of art. British Journal of Aesthetics, 42(1), 35-71.
18
Stecker, R. (1986). The end of an institutional definition of art. British Journal of Aesthetics,26 (2), 124-132.
19
Wood, P. (2002). Conceptual Art. London: Tate Publishing.
20
Yanal, R. (Ed.) (1994). Institutional Art: Reconsideration of George Dickies. PA: The Pennsylvania State University Press.
21
ORIGINAL_ARTICLE
Interpretive Analysis of “ Garden” in Metraghchi ‘s Miniature of Dargazin Gardens
Problem Statement: The revitalization of the “garden” as a symbol of a permanent relationship with nature, requires recognition of the Persian Garden’s geometry. The people who have previously experienced the garden with its main function, have drawn pictures of the garden, and the investigation of their works can give us a complete perception of the garden’s geometry. Purpose of the study: The current study aimed at explain the geometry of the “Dargazine gardens” in Matrakî’s miniature. Obviously, the provision of this geometry does not necessarily mean the use of the same geometry in the present setting in the same form, and it is only the indication of a part of the human-nature relationship’s history. Hopefully, this path would continue with the aid of the past people’s efforts and experiences. Research Methodology: The present study employed the historical interpretation method with exploratory approach. This study seeks to answer this question “what are the features of the garden’s geometry in the time and place in which the miniature has been drawn?”.Conclusion: The information of the miniature was retrieved in two levels. The cultivation system, the irrigation and fair division of land, architectural components of buildings, and the geographical orientation and slope can be perceived by the first glance. However, the measures adopted for the welfare, comfort, and security can be obtained through further analysis of the placement of the neighborhoods, the entrance gates gates, planning of different trees, and the water passage and supply forms.
http://www.bagh-sj.com/article_106755_a686d4734ebeb9c7ebef124d0122593c.pdf
2020-05-21
29
38
10.22034/bagh.2019.155928.3853
Geometry
Persian Garden
Matrakî miniature
Dargazine
Azita
Belali Oskoui
a.oskoyi@tabriziau.ac.ir
1
Associate Professor at Department of Architecure and Urban Planning, Tabriz Islamic Art University, Iran.
LEAD_AUTHOR
Roya
Mahmoodi
r.mahmoodi@tabriziau.ac.ir
2
Master of Islamic Architecture, Department of Architecure and Urban Planning, Tabriz Islamic Art University, Iran.
AUTHOR
اذکایی، پرویز. (1391). از درگزین تا کاشان. تهران: سورۀ تماشا.
1
امامزاده اظهر ابن علی. (بیتا). تاریخ مراجعه: 6/6/1397. قابل دسترس در: http://fa.wikishia.net/
2
بانی مسعود، امیر. (1386). بازسازی نقشۀ باغ شمال براساس اسناد و مدارک دورۀ قاجار. هنرهای زیبا، 29(29)، 69-78.
3
تیموریگرده، سعیده و حیدرنتاج، وحید. (1393). نظرگاه، عنصر اصلی تصویرشده از باغ در نگارههای نمایشدهندۀ باغ ایرانی. باغ نظر، 11(30)، 15–26.
4
جعفری، الهام و بلیلان اصل، لیدا. (1393). بازخوانی تاریخی شهر خوی در دورۀ صفوی با استناد بر مینیاتور مطراقچی از دیدگاه سیاحان. پژوهشنامۀ تاریخ، 9(35)، 33–56.
5
حجت، عیسی و ملکی، مهدی. (1391). همگرایی سه گونۀ بنیادین هندسی و پیدایش هندسۀ مسجد ایرانی. هنرهای زیبا، 17(4)، 5-16.
6
حناچی، پیروز و نژاد ابراهیمی، احد. (1385). بازخوانی میدان صاحبآباد از روی تصاویر شاردن و مطراقچی براساس متون تاریخی، از شکلگیری تا دورۀ صفویه. هنرهای زیبا، (25)، 35-44.
7
حیدرخانی، مریم. (1394). گزارش علمی: نقاشی ایرانی در مقام منبع تاریخ معماری ایران. مطالعات معماری ایران، 4(7)، 151–163.
8
- حیدری، مرتضی؛ معینالدینی، محمد و عصار کاشانی، الهام. (1389). مناظر و مرایا در نگارگری ایرانی. کتاب ماه هنر، (140)، 58–65.
9
شاهچراغی، آزاده و اسلامی، سیدغلامرضا. (1389). بازخوانی ارتباط «انسان-طبیعت» از طریق بررسی نماد باغ در آثار نقاشی معاصر ایران. انجمن علمی معماری و شهرسازی ایران، 1(1)، 43- 53.
10
شاه حسینی، بهنام. (1388). گردش در طبیعت در نگارگری ایرانی. فرهنگ مردم، 12(29 و30)، 123–130.
11
شیبانی، مهدی و هاشمیزادگان، سیدامیر. (1395). باغ ایرانی هستی نوشونده. باغ نظر، 13(45)، 5-12.
12
عالمی، مهوش. (1387). باغها و حیاطهای ایرانی (رویکردی به طراحی معماری معاصر)، (ترجمۀ میثم یزدی). گلستان هنر، 11، 106-112.
13
فرخفر، فرزانه، خزایی، محمد، حاتم، غلامعلی. (1391). نگارگری عثمانی با رویکرد به دستاوردهای هنری ایران (بررسی تطبیقی نگارگری عثمانی و نگارگری ایران نیمۀ نخست قرن دهم هجری). هنرهای زیبا، 4(49)، 19-30.
14
فروتن، منوچهر. (1384). درک نگارگران ایرانی از ساختار فضای معماری ایران (دورههای ایلخانی و تیموری و اوایل صفوی، 619 - 995 ق / 1218 - 1587 م). خیال، (13)، 70–83.
15
فروتن، منوچهر. (1389). زبان معمارانۀ نگارههای ایرانی (بررسی ویژگیهای نگارههای ایرانی به عنوان اسناد تاریخی معماری اسلامی ایران). هویت شهر، 4(6)، 131–142.
16
کبیرصابر، محمدباقر. (1387). تعامل طرح و طبیعت در باغ فتحآباد تبریز. گلستان هنر، (11)، 48-54.
17
کیوانی، شادان. (1382). تحول منظره در نگارگری ایران. کتاب ماه هنر، (63 و 64)، 102–107.
18
گودرزی، مصطفی و حلیمی، نگاره. (1385). پژوهشی پیرامون طبیعت در نگارههای ایرانی. خیال شرقی، (3)، 81-88.
19
مطراقچی، نصوح. (1379). بیان منازل (ترجمۀ رحیم رئیس نیا). تهران: سازمان میراث فرهنگی کشور.
20
معرفی امامزاده: امامزاده هود(ع) رزن. (1394). تاریخ مراجعه: 6/6/1397. قابل دسترس در: https://hamedan.oghaf.ir/news/view-171582.aspx
21
ملکی، توکا. (1385). باغ ایرانی در نگارگری ایران. کتاب ماه هنر، (101 و 102)، 60–65.
22
Ayduz, S. (2009). Nasuh Al-Matrakî: A noteworthy Ottoman artist-mathematician of the sixteenth century. Retrieved August 28, 2018, from https://muslimheritage.com/nasuh-al-matraki-a-noteworthy-ottoman-artist-mathematician-of-the-sixteenth-century/.
23
Kösebay, Y. (1998). An interpretive analysis of Matrakçı Nasuh’s Beyan Menazil: translating text into image. Unpublished master’s thesis. Massachusetts Institute of Technology, Cambridge, Massachusetts.
24
ORIGINAL_ARTICLE
Design of University Campus based on Behavioral Studies: Case Study: Noshirvani Institute of Technology
In the design evolution of higher degree educational complexes, there has always been a combination of closed space and open spaces; many examples of it in Iran, European, American, and Asian countries. Research shows that campus universities have an important role in creating high-quality educational environments and can help students become more involved with higher education institutions. However, the design of university campuses in Iran is often based on predetermined designs, regardless of the behaviors and needs of the users of such spaces. Identifying and assessing students' needs and desires and the reasons for using / not using them from academic spaces can help create meaningful spaces.This research seeks to review university campus design based on behavioral studies. The case study is the campus of Babol's Noushirvani University of Technology. The qualitative method of this research is based on observations and interviews. The results show that the highest number of activities occurs in green spaces between the schools. On the other hand, quiet spaces are more desirable for activities such as studying and getting focused. Considering the places where the furniture is installed, and using different types of furniture based on activities while considering the climate can increase the quality of the campus. In this regard, attention to the landscape edges can play an effective role in campus design in dense urban spaces.
http://www.bagh-sj.com/article_104437_143e0839f7fc345ee16684370509b0f7.pdf
2020-05-21
39
50
10.22034/bagh.2020.178167.4059
Landscape architecture
University Campus
Behavioral Studies
Open Space Design
Babol Noshirvani Institute of Technology
Maryam
Lesan
m.lesan@nit.ac.ir
1
Department of Architecture, Faculty of Civil Engineering, Noshirvani Institute of Technology
LEAD_AUTHOR
پاکزاد، جهانشاه. (1395). مبانی نظری و فرایند طراحی شهری. تهران: انتشارات شهیدی.
1
شرقی، علی. (1390). تأثیر کیفیت معماری منظر پردیس دانشگاهی بر کاربرد آموزشی آن. باغ نظر، 8(18)، 51-62.
2
ضرغامی، اسماعیل و عظمتی، سعید. (1392). بررسی مطلوبیت فضاهای باز محیطهای دانشگاهی از نظر دانشجویان. فناوری آموزش، 7(4)، 287-296.
3
غروی الخوانساری، مریم. (1387). ارزیابی کیفی مجموعۀ پردیس مرکزی دانشگاه تهران. هنرهای زیبا، (35)، 75-84.
4
محمدزاده، رحمت و رضائی، ناهید. (1395). ارزیابی کیفیت فضاهای باز پردیس مرکزی دانشگاه تبریز. انجمن علمی معماری و شهرسازی ایران، 7(12)، 163-181.
5
Abu-Ghazzeh, T. M. (1999). Communicating Behavioral Research to Campus Design: Factors Affecting the Perception and Use of Outdoor Spaces at the University of Jordan. Environment and Behavior, 31(6), 764-804.
6
Aydin, D. & Ter, Ü. (2008). Outdoor Space Quality: Case Study of a Univeristy Campus Plaz. International Journal of Architectural Research, 2(3), 189-220.
7
Barker, R. G. (1968). Ecological Psychology. California: Stanford University Press.
8
Bechtel, R. B. & Zeisel, J. (1987). Obseravtion: The World Under a Glass. In R. B. Bechtel, R. W. Marans, & W. Michelson (Eds.), Methods in Environmental and Behavioral Research. New York: Van Nostrand Reinhold Company.
9
Carr, S., Francis, M., Rivlin, L. & Stone, A. (1992). Public Space. Cambridge: Cambridge University Press.
10
Cooper Marcus, C. & Francis, C. (1998). People Places: Design Guidelines for Urban Open Space. New York: John Wiley & Sons.
11
Francis, M. (2003). Urban Open Space: Designing for User Needs. Washington: Island Press.
12
Gehl, J. (2011). Life between buildings using public space. Washington DC: Island Press.
13
Gibson, J. J. (2015). The Ecological Approach To Visual Perception. New York: Psychology Press Classic Editions.
14
Hanan, H. (2013). Open Space as Meaningful Place for Students in ITB Campus. Social and Behavioral Sciences, (85), 308-317.
15
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16
Hashemnezhad, H., Heidari, A. A. & Mohammad Hoseini, P. (2013). “Sense of Place” and “Place Attachment”. International Journal of Architecture and Urban Development, 3(1), 5-12.
17
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20
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21
Strange, C. C. & Banning, J. H. (2001). Educating by Design : Creating Campus Learning Environments That Work. San Francisco: Jossey Bass.
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Yin, R. K. (2003). Case Study Research Design and Methods. California: Sage Publications.
23
ORIGINAL_ARTICLE
Location Positioning of Catalyst Projects in Inefficient Urban Texture
(Case Study: Region2 of District 18 of Tehran Municipality)
Summary problem statement: The necessity of regeneration in worn out fabrics, which is the range that is less effective than other peripheral fabrics, is obvious and clear, and one of the policies in this field is the definition of catalyst projects. In summary, catalyst projects are one of the most recent approaches to urban regeneration literature in Iran and in the world, and with their proper location, the fabric of the area in which these projects are located are revived and developed. Target: The objectives of this study are to determine the location indices of catalyst projects with emphasis on physical issues and to identify potential areas for defining catalyst projects in the area of two region of Tehran's 18th municipality research method: The type of applied research and research method is descriptive-analytic. Data gathering tools included questionnaire, library studies and observation. In the location section, the AHP method is used in GIS software. Conclusion: The results show that different indices such as population and construction densities, age and quality of buildings, level of culture and literacy of the community, mixing and diversity of uses and activities, etc. to locate catalyst projects with emphasis on physical dimension is extracted from the views of scholars. Also, by applying these indices to locate potential zones, for defining catalyst projects in the problematic texture in the area of two region of Tehran's 18th municipality, 3.99 hectares (14.04%) of the worn out texture of the studied area have the least ability to formulate catalyst projects (the western part of the contaminated area of the region two) and 9.66 hectares ( 34%) of the studied area has the most ability to implement the catalyst projects (the eastern part of the area of region two) and the major areas suitable for placement in the central parts of the texture and areas of Shahid Rajaee and Sadeghieh.
http://www.bagh-sj.com/article_107025_ffe92f2166dbafd6fb639a9cb8a3a52d.pdf
2020-05-21
51
62
10.22034/bagh.2019.177547.4060
"catalyst projects"
" locating"
" Analytical Hierarchy"
" Geographic Information System"
Mohammad Reza
Hashemi
hashemi_shahrsazi@yahoo.com
1
Ph.D. candidate of Urbanism , Faculty of Art and architecture , branch of Tehran West, Islamic Azad University, Tehran, Iran.
LEAD_AUTHOR
Esmaeil
Shieh
es_shieh@iust.ac.ir
2
Professor of Urban planning Department, Faculty of Art and architecture , branch of Tehran West, Islamic Azad University, Tehran, Iran.
AUTHOR
Hossein
Zabihi
h.zabihi@srbiau.ac.ir
3
Associate Professor of Urban planning Department, Faculty of Art and architecture, branch of Science and Research, Islamic Azad University, Tehran, Iran.
AUTHOR
ایزدی، محمدسعید. ( 1385). تحقق راهبرد مشارکت از طریق برنامۀ جامع بازآفرینی شهری، دومین همایش نوسازی بافتهای فرسوده شهر تهران.
1
ایزدی، محمد سعید. (1389). پروژههای محرک توسعه، راهکاری برای تحقق برنامههای بازآفرینی محلات و مراکز شهری. فصلنامه جستارهای معماری و شهرسازی، (32) ، 25- 26.
2
ایمری، راب؛ لیز، لورتا و راکو، مایک. (1390) نوسازی شهری لندن؛ حکمرانی، پایداری واجتماع محوری دریک شهر جهانی (ترجمه مجتبی رفیعیان). تهران : انتشارات دانشگاه تهران.
3
بحرینی، سیدحسین. (1385). تجدد، فراتجدد و پس از آن در شهرسازی. تهران: انتشارات دانشگاه تهران.
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بحرینی، سید حسین، ایزدی، محمد سعید و مفیدی، مهرانوش.(1392). رویکردها و سیاستهای نوسازی شهری (از بازسازی تا بازآفرینی شهری پایدار). مطالعات شهری،3 (9)، 30-17.
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زلفیگل، سجاد و سجادزاده، حسن. (1396). بررسی نحو فضایی ساختار محلههای سنتی با نگرش محرک توسعه (نمونه موردی: محله حاجی شهر همدان)، جغرافیا و برنامهریزی محیطی، 28(4)، 70-53.
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سجادزاده، خسن و زلفیگل، سجاد. (1394). طراحی شهری در بازآفرینی محلات سنتی با رویکرد محرک توسعه نمونه موردی: محله گلپا همدان، فصلنامه آمایش محیط، (31) ، 171 - 147.
11
سجادزاده، حسن؛ دالوند، رضوان و حمیدینیا، مریم. (1395)، نقش بازآفرینی با رویکرد محرک توسعه در محلات سنتی (نمونه موردی: محله حاجی شهر همدان. شهرسازی و معماری هفت شهر، 4(53-54)، 76-54.
12
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عزیزی، محمد مهدی و بهرامی، بهاره. (1396). نقش پروژههای محرک توسعه در بازآفرینی بافت مرکزی شهرها نمونه مطالعاتی: بافت تاریخی شهر یزد، نشریه هنرهای زیبا-معماری و شهرسازی، 22(4) ،16-5.
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عندلیب، علیرضا؛ بیات، اشکان و رسولی، لیلا. (1392). مقایسه و تطبیق بازآفرینی بافتهای فرسوده شهری بلوک خیام تهران (ایران) و پروژه لیورپول 1 (بریتانیا). فصلنامه آمایش و محیط، (23)، 104-79.
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عندلیب، علیرضا. (1392). اصول نوسازی شهری، رویکردی و به بافتهای فرسوده. تهران: انتشارات آذرخش.
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هاشمی، محمدرضا؛ شیعه، اسماعیل و ذبیحی، حسین. (1397). مقایسۀ تطبیقی تجارب پردازههای محرک توسعه با رویکرد بازآفرینی شهری در شهرهای منتخب جهان. فصلنامه علمی و پژوهشی جغرافیایی سرزمین، 15(60) ، 44-29
18
Beauregard, R. A. & Holcomb, H. B. (1981). Revitalizing cities. Washington: Association of American Geographers.
19
Blakeley, B. & Evans, B. (2009). who participates, how and why in urban regeneration projects? The case of the new city of east Manchester. Social policy & administration,43(1), 15-32.
20
Bohannon, L. (2004).The urban catalyst concept: toward successful urban revitalization. Unpublished master’s thesis of Landscape Architecture, VIRGINIA.
21
DETR (Degree in Town and Regional Planning). (2000). Duncan of Jordanston college. Scotland: University of Dundee.
22
Grodach, C. (2010). Living next to a flagship development. Journal of Planning Education and Research, 29, 353-366.
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29
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30
ORIGINAL_ARTICLE
Explaining the Notion of Hermeneutic Phenomenology in Product Design
Hermeneutic phenomenology is the establishment of existential relations. How these relations can be manifested in human being in the world is one of the most important concerns of philosophers, including Heidegger - the famous German philosopher. Hermeneutic phenomenology seeks to understand the experience of life and use it to improve conditions. To this end, the designer can provide a design in which the prior experiences and concepts are used to serve the basic needs of the product (the existing being). Certainty does not matter in the nature of hermeneutic phenomenology, but also its work is to describe and interpret the human experience in the world. So this research provides a description of phenomenology that can be linked to the world of products by applying it to the product design process. This paper intends to provide an interpretation of phenomenology that can be considered and implemented in the design process. In this regard, this notion is further clarified by elucidating certain steps from it that include 1.Temporality 2.Establishing a meaningful relationship with having-been, presence and futuristic 3.Establishing a network of existential relationship between human and product 4.Establishing a hermeneutical relationship 5. Disclosedness. The result of this paper makes it clear that not only can use the phenomenology approach in product design, but also the case studies show that the use of this method during the industrial design history has been able to influence the success of products in relation with users.
http://www.bagh-sj.com/article_107026_23906b46f895d16e72940d41b0b6facd.pdf
2020-05-21
63
72
10.22034/bagh.2020.182942.4087
Hermeneutic phenomenology
product design
Temporality
Disclosedness
Presence
Ashrafosadat
Mousavilar
a.mousavilar@alzahra.ac.ir
1
Professor of art research department, art faculty of alzahra university, Tehran, iran
AUTHOR
Behzad
Soleimani
behzad_soleimani@yahoo.com
2
Assistant professor of industrial design department, art faculty of alzahra university, Tehran, iran
LEAD_AUTHOR
Masoumeh
Esmaeelzadeh
m_esmaeelzadeh@aut.ac.ir
3
Ph.D candidate of art research department, Art Faculty of Alzahra University, Tehran, Iran.
AUTHOR
احمدی، بابک. (1381). هایدگر و پرسش بنیادین. تهران: نشر مرکز.
1
اسپیگلبرگ، هربرت. (1392). جنبش پدیدارشناسی درآمدی تاریخی (ترجمه مسعود علیا). تهران: انتشارات مینوی خرد.
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3
دهقانی، رضا. (1385). بودن در جهان معماری، تفسیر زمانمند معماری. پایان نامه منتشرنشدۀ کارشناسی ارشد معماری، دانشگاه شهید بهشتی، تهران، ایران.
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6
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Embree, L.E. (1997). Encyclopedia of phenomenology. Dordrecht: Kluwer Academic.
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14
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Ulrich, K.T. (2006). Design: Creation of Artifacts in Society. Retrieved from http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.183.2133&rep=rep1&type=pdf. (Accessed 20 October 2019).
18