Nazar Research Center for Art, Architecture and Urbanism (NRC)
The Monthly Scientific Journal of Bagh-e Nazar
1735-9635
2251-7197
17
85
2020
06
21
The Analysis of the Historical Roots of the Landscape Biography Approach
5
16
FA
Maryam
Rezaei Ghale
PhD Candidate in Islamic Architecture, Faculty of Architecture and Urban Planning, Tabriz Islamic Art University, Iran.
m.rezaeighaleh@tabriziau.ac.ir
Mohammad Taghi
Pirbabaei
0000-0002-6305-9611
Professor, Faculty of Architecture and Urban Planning, Tabriz Islamic Art
pirbabaei@tabriziau.ac.ir
10.22034/bagh.2020.133279.3591
Problem statement: Landscape biography is a historical and interdisciplinary approach about the interaction between the audience and their environment. This approach assesses the nature which is changed by the human using a phenomenological perspective, and it is less known in Iran. According to the enriched history of Iran, knowing and using this approach in the historical landscape planning, which consists of a huge part of this country seems to be essential. The analysis of the philosophical roots of the landscape biography approach is useful for a better understanding of this concept. This approach first emerged as a result of the confrontation with the objective and subjective separation in the landscape using the concepts of phenomenology. Husserl’s perspectives as the father of phenomenology about the world-life, and Heidegger, who brought phenomenology at the level of ontology and linked it to hermeneutics, and also Gadamer, who expanded the philosophical hermeneutics, are the ones whose perspectives have been used in the landscape biography. <br />Research objective: The main goal of this study is to have a better understanding of the modern history roots as the main criterion of this approach. History in the landscape biography is not defined as the consistency of the past, now and future, but it is considered nonlinearly. <br />Research method: The main question of this study is to find the nonlinear and dynamic roots of landscape biography. The main subjective concepts of this approach in phenomenology and hermeneutics have been assessed using descriptive analytics techniques, and these roots have been compared to historical criteria of the landscape biography using adaptive approach. <br />Conclusion: Finally, the deep effects of time philosophy from the perspective of hermeneutics on the modern historical perspectives in this approach were demonstrated. Similar to the time, landscape history has been for Dasein and it is always along with it, because according to Heidegger, it is not the past that is valuable but the originality with the future. Therefore, the historical landscape planning is valuable by the maintenance of the past phenomena and its integration with present.
Landscape Biography,Historical approach,Phenomenology,Hermeneutics,Nonlinear history
http://www.bagh-sj.com/article_103815.html
http://www.bagh-sj.com/article_103815_c339c5199928d67fcac4cd1afe0d6fca.pdf
Nazar Research Center for Art, Architecture and Urbanism (NRC)
The Monthly Scientific Journal of Bagh-e Nazar
1735-9635
2251-7197
17
85
2020
06
21
Study of Motifs in Zoroastrian Needlework, Based on Anthropological Aspect of Art
17
30
FA
Roya
Azizi
0000-0001-9197-5767
Lecturer, Islamic Art Department, Handicraft Faculty, Art University of Isfahan, Iran.
r.azizi@aui.ac.ir
Zohreh
Tabatabaei Jebeli
0000-0002-5650-7148
Assistant Professor, Islamic Art Department, Handicraft Faculty, Art University of Isfahan, Iran.
z.tabatabaei@aui.ac.ir
10.22034/bagh.2020.164417.3925
Problem statement: The art of “Zoroastrian needlework” is a sort of traditional needlework clothing design, belonged to Zoroastrian ladies, dating back to pre-Islamic Iran. Majority of the Zoroastrian needlework motives contain some meanings and roots from religious culture and aesthetics point of view which are not explained so far and identification of these motives can reveal their meanings which some believe they are just simple designs without any hidden meaning. <br />Research objectives: This study attempts to assess and understand the ornamental motifs of the Zoroastrian needlework from cultural and social point of view of the artists.<br />Research method: This anthropological study of art tries to answer the following question: what is the cultural iconography, aesthetic items and function of the motifs of the Zoroastrian Needlework? In order to answer this question based on anthropology of art views, the motifs of the Zoroastrian Needlework were studied using descriptive-analytical method by considering their iconography, aesthetic, and functions.<br />Conclusion: The results show that based on iconography analysis, many of these motifs remind us of old archetype such as mother and trees, and using them on wedding dresses is a symbol of goddess of fertility. This shows a relation between concept and application. In addition, based on aesthetic analysis, the structure of color, form, texture and composition are according to their sewing patterns and poses balance, difference and rhythm. In function analysis, motives were used mostly for women’s clothing, especially their wedding dress which is exactly according to its function and shows view of Zoroastrian religion in which living happily is the human mission.
anthropology of art,cultural iconography,Aesthetic,Functionalism,motifs of Zoroastrian Needlework
http://www.bagh-sj.com/article_107799.html
http://www.bagh-sj.com/article_107799_8a116a1897e5af60f6e4253021366f29.pdf
Nazar Research Center for Art, Architecture and Urbanism (NRC)
The Monthly Scientific Journal of Bagh-e Nazar
1735-9635
2251-7197
17
85
2020
06
21
Comparative Study of Fractal Geometry Patterns in Iranian Garden and Landscape Architecture (Case Study: Tabas Golshan Garden)
31
44
FA
Ali
Sharghi
0000-0002-0393-1252
Assistant Professor of Architectural and Urban Design Group, Shahid Rajaee Teacher Training University, Tehran, Iran.
sharghi@sru.ac.ir
Mohamadamin
Azizmoghadam
0000-0001-8281-8030
Master Student of Landscape Architecture, Shahid Rajaee Teacher Training University, Tehran, Iran.
m.a.azizmoghadam@sru.ac.ir
Zahra
Jamali Gandomani
Master Student of Landscape Architecture, Shahid Rajaee Teacher Training University, Tehran, Iran.
zahra75jamali@gmail.com
10.22034/bagh.2019.164706.3927
Problem statement: Today, returning to nature and patterning it seems to be one of the most important needs in the world. Iranian architects have been successful in applying scales and connecting different scales to one another, as well as facing nature around them. Geometry, while being abstract, is the most important language through which the architect creates specific spatial qualities.<br />Research objectives: This article investigates Golshan Garden by expressing its features (rotation, egalitarianism, introversion, centeredness, symmetry, and multiplicity) in Iranian landscaping, while fractal geometry has features including nonlinearity, irregularity, imperfection and non-Euclidean geometry, chaos, and special rules, representing its naturalistic aspect along with the lack of rest and relation of geometries.<br />Research method: A descriptive-analytic approach has been employed consisting of two steps. The first step included library studies and reasoning to explain the internal validity of the geometry of Iranian garden. Second, the new relationship between the findings of Tabas Golshan Garden as an example of Iranian garden are interpreted and compared with fractal geometry to explain the external validity. <br />Conclusion: It is found from the study that if the Iranian garden has fractal features in structural, vegetative, irrigation and functional systems, it can be extended to the whole garden. Tabas Golshan Garden as an example of Iranian garden represents fractal architecture design with all the features of fractal geometry and inspired by the nature as well as benefiting from geometric flexibility, definable and recognizable throughout the design and using a form such as the pentagon found in nature.
Golshan Garden,fractal geometry,Naturalism,Iranian Landscaping
http://www.bagh-sj.com/article_101520.html
http://www.bagh-sj.com/article_101520_cfbbbc3f6e7f50614081f6bedd868d88.pdf
Nazar Research Center for Art, Architecture and Urbanism (NRC)
The Monthly Scientific Journal of Bagh-e Nazar
1735-9635
2251-7197
17
85
2020
06
21
An Analytical Approach to the Function and Dating of the Great Southern Tower at Rab’e Rashidi in Tabriz
45
56
FA
Bahram
Ajorloo
0000-0003-1611-0258
The commissioned head of international expedition to Rab’e Rashidi in Tabriz, Tabriz Islamic Art University, Iran
ajorloo@tabriziau.ac.ir
Amin
Moradi
The deputy of international expedition to Rab’e Rashidi in Tabriz, Iran.
aminmoradi66@yahoo.com
10.22034/bagh.2020.171487.3990
Problem statement: The visible remnants of Rab’e Rashidi in Tabriz, as a fortified site at the present time, are curtain walls and towers. Imagined as an Ilkhanid observatory and recorded as the artillery tower built by Shah Abbās the Great during his 1603 AD campaign, the great southern tower of Rab’e Rashidi is located at the southern curtain wall. The recent field studies on the structure of this tower have questioned its function for artillery tower. Therefore, the basic questions proposed by the authors are related to the relative dating, function and historical presence of this tower in Rashidiyya.<br />Research objectives: The aim of this research study is the systematic understanding of the age and function of this monument as a guide to proper planning of its restoration and conservation.<br />Research method: The analytical approach to architecture, field studies of structure and physical setting of tower, in addition to the history of ordnance in Safavid and Ottoman armies are the basic research methods were applied in this study.<br />Conclusion: The tower has been built by the plan and order of Cigala Joseph Sinan Pasha (Zigala Bassa Capitano del Mare) the Ottoman ruler of Tabriz (1585-1603). Strongly has not been affected by 7. 7 earthquake of Tabriz 1780, the basic function of such a great tower is not simply confined to artillery tower, but instead is supposed to be a stronghold to deploy a musketeer company of Ottoman Janissaries to cover 180o fire wall for southern lowland areas of the southern curtain wall, including the western upper gate, two water wells at the east of tower, and also the northern bank of Mehrānrūd River and hills of Valyānkūh. Moreover, adobe, mud-brick, clay and wattle & daubed structures visible throughout top of the great tower and across the small towers and curtain walls are the same remnants of quickly reconstructed and repaired Fort of Rashidiyya ordered by the Safavid Shah Abbās the Great, in 1610.
The Rab’e Rashidi,The fort of Rashidiyya in Tabriz,Analytical Approach,Historical subjectivity,Archaeological objectivity
http://www.bagh-sj.com/article_107798.html
http://www.bagh-sj.com/article_107798_7384e71a4e74c1905cdd0367c5a14f0e.pdf
Nazar Research Center for Art, Architecture and Urbanism (NRC)
The Monthly Scientific Journal of Bagh-e Nazar
1735-9635
2251-7197
17
85
2020
06
21
The study of Artist’s Role in Traditional Iranian Glass Factories by the Approach of Giddens’ Structuration Theory
57
66
FA
Arezoo
Khanpour
Ph.D. Candidate in Art Research, Alzahra University, Tehran, Iran.
a.khanpour@tabriziau.ac.ir
Mahin
Sohrabi Nasirabadi
Assistant Professor, Art Faculty, Alzahra University, Tehran, Iran.
m_sohrabi_n@yahoo.com
Mehdi
Mohammadzadeh
Associate Professor, Islamic Art University of Tabriz, Tabriz, Iran.
mohammadzadeh@tabriziau.ac.ir
10.22034/bagh.2019.178788.4066
Problem statement: The current traditional Iranian glass making is done in factories around the suburbs of large cities like Tehran. This industry has survived with minimal changes like post-industrial revolution era. Contemporary artist needs to visit traditional glass factories and interact with them to use glass in their works of art.<br />Research objectives: This article studies the artist’s role in glass factories based on Giddens ‘structuration theory to answer the following questions, “What is the role of the contemporary artist in interacting with traditional Iranian glass factories in creating his/her artworks?” and “is this role given to the artist as a result of the interaction with the governing structures or rules, or should these structures and rules be changed?”<br />Research method: This article is a qualitative research and is done in a descriptive-analytical way. Resources are used include Library resources and field studies and authors’ observations.<br />Conclusion: Evidently, the interaction between the artist and glass factories is based on dominant rules and conditions of glass art and traditional glass making and out of artist’s choice. This study with sociological approach examines relationship between traditional factors in glass making (as structure/ rules) and artist (as actors/resources). The results show that according to the theory of the structuration any change in the rules and resources of human activity will change the overall system. Accordingly, the development of contemporary glass making art requires changes in the relationship between the artist and the glass factories<br />By changing the whole system, the artist can interact with the structure. In fact, it may be better for the artist in the process of making his/her own artwork to look for a suitable structure rather than interacting with the structure that is governed on the glass factories. The question of the structure of glassmaking studios is a subject of another research.
Structuration,Glass Artist,Traditional Glass Factory,Traditional Glass Making
http://www.bagh-sj.com/article_101455.html
http://www.bagh-sj.com/article_101455_d40a85aefa454b5344812f0d223472c2.pdf
Nazar Research Center for Art, Architecture and Urbanism (NRC)
The Monthly Scientific Journal of Bagh-e Nazar
1735-9635
2251-7197
17
85
2020
06
21
Evaluating the Role of Physical and Functional Factors in the Socialization of Traditional Iranian Markets Using Space Syntax Technique (Case Study: Tabriz Bazaar)
67
82
FA
Rana
Najjari Nabi
Ph.D Candidate of Architecture, Department of Architecture, Shahid Rajaee Teacher Training University, Tehran, Iran.
ra.najjari@gmail.com
Jamaloddin
Mehdinezhad
Associate Professor in Department of Architecture, Shahid Rajaee Teacher Training University, Tehran, Iran
ra.nabi2016@sru.ac.ir
10.22034/bagh.2020.182777.4088
Problem statement: Sociability is one of the crucial concepts in multifunctional urban spaces to establish appropriate social relations among people. One of the basic human needs is to communicate with others. Meeting social needs of a person and the occurrence of social relationships requires a defined place and space which can establish a set of social and cultural relationships among different groups of people in a particular place. It is essential to pay attention to the social dimension of space in buildings and to find the link between spatial qualities and social concepts, including socialization, in the success of these spaces. Bazaars have been among the community spaces with high social cohesion potential in urban society, so that the life of city and Bazaar have always been interconnected, and in many cases, cities gain meaning and notion by Bazaars. Today, due to the change in the structure of urban space and patterns of people’s lives, the impact of people’s lives and the lack of proper adaptation to the traditional physical environment, Bazaar is at the risk of becoming a museum-Bazaar place, paying no attention to the physical and functional aspects. <br />Research objective: The purpose of this study is to measure the level of socialization in the market, recognizing its social context and factors affecting its social quality, by analyzing the structure, coherence, market cohesion and prioritizing physical-functional aspects. Attention to the social quality of Bazaar and the restoration of social life in it requires the recognition of its social context and effective factors.<br />Research method: The research method in this article is descriptive-analytical and uses UCL Depth Map software and Space Syntax’s Technique in order to measure the degree of Bazar socialization, understanding its social context and factors affecting the social quality of the Bazar, by analyzing structure, integration, Bazar solidarity, and prioritizing physical-functional aspects. <br />Conclusion: The results show that the spatial values of Space Syntax in different parts are fundamentally different so that the structure and social cohesion of Bazaar have significantly been reduced and the measure of the interconnectedness of the newly constructed streets has increased. As a result, the necessity of paying attention to the changes and consequences of urban development is evident from the physical and functional aspects to enhance the Bazaar’s social characteristics.
Socialization,Physical- Functional Factors,Space Syntax,Tabriz Grand Bazaar
http://www.bagh-sj.com/article_107802.html
http://www.bagh-sj.com/article_107802_d4432eb3394ba9b0a04fa2928f0ae7c2.pdf