Nazar Research Center for Art, Architecture and Urbanism (NRC)
The Monthly Scientific Journal of Bagh-e Nazar
1735-9635
2251-7197
16
72
2019
05
22
Analysis of the Formal Features of Chaharsofe Houses and its Influence on the Formal Structure of Introverted Houses in the City of Isfahan
5
20
FA
Sanaz
Rahravi
Department of Architecture, Najafabad Branch, Islamic Azad University, Iran.
sanazrahravi@gmail.com
Nima
Valibeig
0000-0002-7562-0701
Art University of Isfahan
n.valibeig@aui.ac.ir
Narges
Dehghan
Department of Architecture, Najafabad Branch, Islamic Azad University, Iran.
dehghan@par.iaun.ac.ir
Mohammad
Masoud
Department of Architecture, Najafabad Branch, Islamic Azad University, Iran.
m.masoud@aui.ac.ir
10.22034/bagh.2019.87455
Chaharsofe houses are considered to be one of the most valuable architectural buildings of Iran, such that some researchers consider the design of some monuments with different functions during the Islamic era to be derived from the Chaharsofe houses. Understanding the features of Chaharsofe houses will help maintaining and restoring these valuable buildings and will play an important role in identifying the influential characteristics in the formation of the spaces of the historical houses. This research is based on the fact that the characteristics of Chaharsofe houses have played a significant role in the micro and macro structures of the introverted historical houses. This research seeks to recognize the formal features of the texture of Chaharsofe houses and, accordingly, to analyze the formal features of the texture of the historic houses built in the city of Isfahan. In this regard, this research explores the formal features of a recurring form in Chaharsofe houses for the first time and reveals their impact on the emergence of the plan of introverted houses spaces. In general, this research will be conducted to characterize the components of Chaharsofe houses and how they were used in the residential buildings constructed in the following periods. The research method used in this research is comparative, historical, and interpretive whose interpretation has been done inductively; the applied tools include collecting information with a library method, field method, and conducting structured interviews with experts and professors. The present research seeks to reveal the recurring formal features of Chaharsofe houses in creating the spaces in the plan of Isfahan’s introverted houses. The results showed that the characteristics of Chaharsofe houses on micro and macro scale have a significant role in the formation of the spaces in the plan of the introverted houses.
Chaharsofe houses,Introverted houses,Formal features of Iranian .houses,the City of Isfahan
http://www.bagh-sj.com/article_87455.html
http://www.bagh-sj.com/article_87455_2902a7ec1ad2cc484123187b2e00153e.pdf
Nazar Research Center for Art, Architecture and Urbanism (NRC)
The Monthly Scientific Journal of Bagh-e Nazar
1735-9635
2251-7197
16
72
2019
05
22
Mythological Analysis of Form and Shape in Achaemenian Rhytons
21
32
FA
Bita
Mesbah
Assistant Professor, Art Research Department, Semnan University, Iran.
bitamesbah@semnan.ac.ir
Abolghasem
Dadvar
Professor, Art School, Alzahra University, Tehran, Iran.
ghadadvar@yahoo.com
10.22034/bagh.2019.87458
Rhytons were used for drinking water or the holy wine in shape of a forepart of an animal body or a combination of the head and the horn of the animal. People believed that the strength of the animal would be transferred to them while drinking in the Rhyton. It is assumed by most scholars like Hertsfeld, Ghirshman, Porada and Amiet that Iranians were the first people to use the rhytons and they made the vessel a common type all around the ancient Near East. The Achaemenian rhytons are mostle made from gold or silver and were found from treasures. This research is studying 135 Achaemenian Rhytons. <br />The results of this study show that two types of rhytons were more common during the Achaemenids’: conical and cylindrical. The animals used in making the rhytons were lion, bull, ibex, and antelopes. These animals are the attendants and comrades of four Persian gods and goddesses including Anahita, Mithra, Tishtar, and Bahram. The cosmological figure of these four is venerated as the divinity of ‘the Waters’ and associated with fertility, healing, and wisdom. <br />Besides, Bahrām is the most considered god between the king and his soldiers. In Avesta, Bahrām has all the characteristics of an ancient warrior god, the personification of a force that shatters and overcomes any resistance or defense. The goat, antelope or even the horned ibex are the comrades for Bahram. Mithra is the moral sense of the contract, promise, friendship, and alliance. The alliance is more important since an alliance can include a mutual benefit which is binding. The alliance is very well suited to be the moral foundation of a society whose welfare depends on peace. Therefore, it is definitely obvious why the lion and winged bull are mostly used as the representations for Mithra. In conclusion, it is obvious that the Achaemenian rhytons were used as a mythological vessel especially in ritual ceremonies to gain the gods’ protection and potency.
Rhyton,Mithra,Bahram,Anahita,Achaemenian
http://www.bagh-sj.com/article_87458.html
http://www.bagh-sj.com/article_87458_eb75f794214996ea87f1993192364dff.pdf
Nazar Research Center for Art, Architecture and Urbanism (NRC)
The Monthly Scientific Journal of Bagh-e Nazar
1735-9635
2251-7197
16
72
2019
05
22
Effect of Globalization on Identity Components of Contemporary Rugs of Tabriz
33
40
FA
Abdollah
Mirzaei
Faculty of Carpet, Tabriz Islamic Art University, Iran.
abdmirzaee@yahoo.com
10.22034/bagh.2019.87460
Statement of the Problem : The cultural heritage and its aspects including the handicrafts are accounted as the stabilizing factors of ethnic groups’ cultural identity. Tabriz rug is viewed as one of the most important cultural products and Iranian handicrafts in a global domain. In recent decades, the cultural waves resulted from the globalization phenomenon have caused changes in the identity components of the rugs. As such a trend continues, the expected functions of Tabriz rug face serious challenges. Losing the local identity and cultural authenticity and commodification are the consequences of continuing such a trend. The strategy in terms of scientific encounter with the global culture lies in recognizing works and concepts of such a phenomenon in Tabriz rug. <br />Purpose:This research studies the effects and consequences of cultural globalization on Tabriz rug and discusses the strategies for how to cope with it. <br />Research Method:This research iswas conducted on 200 pieces of hand-knotted contemporary rugs of Tabriz through a descriptive-analytical method, using field-study data and library resources. <br />Conclusion:The contemporary rugs of Tabriz have joined the global trade network of cultural goods due to their cultural and commercial aspects. As this trend continues, the identity and style components of this Islamic-Iranian hand-knotted product experience changes. Thus, the concepts of such phenomenon are observable in three domains of visual, technical and applied components. Awareness of the principles and acquiring the necessary skills are the prerequisites of acting in a system. Therefore, facilitating the access of the designers of Tabriz rugs to the principles and basics of Iranian traditional designs can reinforce the constructive interaction of these agents against the surrounding structures resulted from globalization.
Local Arts,global culture,Tabriz Rug,Training
http://www.bagh-sj.com/article_87460.html
http://www.bagh-sj.com/article_87460_48442fe57318e217a1d60d61c0e01ffb.pdf
Nazar Research Center for Art, Architecture and Urbanism (NRC)
The Monthly Scientific Journal of Bagh-e Nazar
1735-9635
2251-7197
16
72
2019
05
22
Landscape planning based on microclimate with the aim of reducing air pollutants in metropolises
41
52
FA
Ehsan
Shariatmadari
0000-0001-6648-136X
Master of landscape architecture at IKIU, Qazvin, Iran.
ehsan.shariatmadari70@gmail.com
Mohamad Mahdi
Senemari
Assistant professor in the department of architecture at IKIU, Qazvin, Iran.
mehdisenemari@yahoo.com
Hossein
Medi
Assistant professor in the department of architecture at IKIU, Qazvin, Iran.
medi@arc.ikiu.ac.ir
Mohamadreza
Mehrabanigolzar
0000-0001-9706-2723
Assistant professor in the department of landscape architecture at IKIU, Qazvin, Iran.
m.mehrabanigolzar@gmail.com
10.22034/bagh.2019.87467
Problem statement : Reducing Tehran’s air pollution includes two general approaches. Firstly, it considers reducing pollution devices, which create and distribute pollutions in districts; Secondly, it emphasize the reduction of pollution rate through suction methods and transforming them naturally. It means that not only we can reduce the rate of air pollution by finding suitable solutions, but also we can adopt some policies to produce and distribute fresh air, which consequently leads to mental and physical health of the citizenry. <br />Research Purpose :The goal of this study is to find strategies in the planning field and designing landscape so that we can reduce air pollution and reproduce fresh air. <br />Research question: This study tries to answer this question that "How can we use landscape planning for reproducing climate wisdom in order to reduce air pollution?" <br />Research method:The present study is qualitative. It has considered explanations of principles and designing patterns of sustainable landscape architecture by the content analysis methods and has evaluated similar samples and extracted pros and cons. <br />Conclusion:It seems that creating climate wisdom in district 22 of Tehran can reduce Thermal Island phenomenon and consequently, it can choose to reduce air pollution. The research results showed that by reducing the thermal island intensity through improving some urban landscape elements, it would be possible to obtain a healthy environment by reducing harmful pollutions and its effects on human health.
landscape,Environment,green space,Urban district,Thermal island,Air pollution
http://www.bagh-sj.com/article_87467.html
http://www.bagh-sj.com/article_87467_78825040cf3ccaacfcd52d32f8adae7d.pdf
Nazar Research Center for Art, Architecture and Urbanism (NRC)
The Monthly Scientific Journal of Bagh-e Nazar
1735-9635
2251-7197
16
72
2019
05
22
Typology of imagination in the process of architectural design
53
64
FA
Sara
Amini
Faculty of Architecture and Urbanism, Islamic Azad University, Central Tehran Branch, Iran.
saraamini318@gmail.com
Mohammad Mansour
Falamaki
Professor of Architecture and Urbanism, Islamic Azad University, Tehran Central Branch, Tehran, Iran.
mansourfalamaki@faza-falamaki.org
Ghazal
Keramati
0000-0002-1029-2495
Assistant Professor, Faculty of Architecture and Urbanism, Islamic Azad University,
Central Tehran Branch, Tehran, Iran.
ghazal_keramati@yahoo.com
10.22034/bagh.2019.87490
The paper focuses on the design subject. The matter of what is design and how it is work has always been the concern of theorists and researchers. In the meantime, it is a significant issue that rather than the existence of a single theory, we have a variety of views and context of the attitude. When uncertainty arises, we are confronted with a phenomenon that is not linear and cannot be perceived just through the logic. Some find metaphysical aspects, some have examined unconscious from the psychological point of view and others have a mystical look at the issue. As a designer and audience, this unknown aspect of design can be mysterious, stimulant, frightening, or enjoyable. Design as creativity arises from designer’s individual physical and mental world, it is created by imagination, measured by science, and once again returns to the imagination. A set of internal and external components is involved in design. Recognizing this design space and its transformation is what matters to us. <br />An approach is process-centered. In addition to studies on the characteristics of physical space, mental space’s characteristics are also should be studied. We consider this mental space to be the same as the imaginary space of the designer. Direct access to the imagination mechanism is impossible, but we can try to explain its effectiveness on the structural levels. The research method is a synthesis of narrative and hermeneutic-phenomenological analysis.it is process-oriented and focuses on the design process. The research is based on a set of connections and interactions. creativity should be relying on the imagination. It is a lovely escape with no limits. in imagination, everything is possible. It is an experience of freedom. Everyone’s having a unique imaginary space that is quite different from others. A series of individual elements forms the characteristics of this space. in a design process, designer flows in continuous transition between this imaginative space and physical space.
Design,Creative Space,Imagination,Idea,Vertu
http://www.bagh-sj.com/article_87490.html
http://www.bagh-sj.com/article_87490_8a81e8504815fc52d629eca7519779b9.pdf
Nazar Research Center for Art, Architecture and Urbanism (NRC)
The Monthly Scientific Journal of Bagh-e Nazar
1735-9635
2251-7197
16
72
2019
05
22
Revising the influence of Persian, Indian and Chinese motifs on the architectural decorations of Kerman from the Safavid time to present
65
80
FA
Fatemeh
Khozaee
Department of Architecture, Kerman Branch, Islamic Azad University, Kerman, Iran.
fatemeh.khozaei@gmail.com
Mina
Safizadeh
Department of Architecture, Faculty of Art, Architecture & Urbanism , Islamic Azad university Kerman branch
mina.sa91@gmail.com
Reza
Afhami
0000-0002-7678-6164
Faculty of Art, Tarbiat Modares University.Tehran, Iran.
reza.afhami@gmail.com
Ahmad
Sanusi Hassan
Building and Planning, Universiti Sains Malaysia, Penang, Malaysia.
sanusi@usm.my
10.22034/bagh.2019.87494
Statement of the problem:Kerman has long established its historical position in Iran, and it seems at some points the importance of its position has been highlighted. Since Bandar Abbas turned into an important commercial port, Kerman has been an important trade point in the country on the Silk Road. Due to many trade exchanges with India and China in Kerman, this second-class city turned into a first-class city during the Safavid. However, less exists on how its interactions with other culture and geographical proximity to other countries have influenced the architecture and adornments of buildings in Kerman during the Safavid and since then. <br />Purpose of the study :The purpose of this research is to examine the adornments of buildings in Kerman since the Safavid era to see how they have been influenced by other countries, especially India and China. To this purpose, the relics of the monuments in this period in Kerman were selected as the sample and their decorations were examined in terms of originality and type of decoration. <br />Research Methodology: This study used research library method for data collection. Data were analyzed using a deductive approach. In order to analyze and classify the architectural decoration of buildings in terms of originality, using a criterion sampling, a number of available buildings were selected and their architectural features were analyzed. The selection criteria included the construction time and features of architectural decorations such as tile work, brickwork, color type, and volumes. The hypothesis of this research is that the architectural decoration of Kerman from the Safavid era reflects a combination of original Iranian, Indian and Chinese decorations. <br />Conclusion:The results of the study approve the research hypothesis. The buildings under study reflected traditional Iranian architectural elements, the architectural features of India and China and West. The result of this study adds a new dimension to Iranian architecture research overshadowed by common traditional views.
Architectural decorations,influence of India and china,Safavid era up to now,Kerman buildings
http://www.bagh-sj.com/article_87494.html
http://www.bagh-sj.com/article_87494_903543e59f04e2928a2498938079b2a4.pdf