Nazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635156020180522City entrance, as an element for creating an independent identity for the city landscapeCity entrance, as an element for creating an independent identity for the city landscape5146276010.22034/bagh.2018.62760FAYousef BagheriUniversity of TehranSeyed-Amir MansouriJournal Article20180521<strong><span style="font-family: Times New Roman; font-size: xx-small;"><span style="font-family: Times New Roman; font-size: xx-small;">Statement of Problem: </span></span></strong><span style="font-family: Times New Roman; font-size: medium;"><span style="font-family: Times New Roman; font-size: medium;">Apart from the structure of the city and arrangement of urban spaces, the evolution of modern cities seems to have become a dead texture of the city, and has been separated from its systematic structure in the old cities. Obviously, the entrance of the contemporary cities cannot imitate the entrance system of the ancient cities, since if the city is defined as a system consisting of various historical, natural, environmental, cultural, economic, etc. layers, it will be found that the entrance of this city cannot be defined apart from its structural layers. The entrance recovers its identity in association with the structural layers of the city in the systematic structure of the current cities. This association requires identification of the entrance capabilities and its effect on urban spaces.</span></span> <br />Objective: <br /><span style="font-family: Times New Roman; font-size: medium;"><span style="font-family: Times New Roman; font-size: medium;"> Investigation of the entrance of the contemporary cities is necessary in order to achieve the nature of the entrance as a perspective location, its essence and realization of its identity for redefining its concept in modern urbanization1. The entrance of the city as part of a whole needs redefining the entrance position in the city system. In that light, the present study’s aim is to attempt to explain the perceived indicative parameters of modern cities.</span></span> <br />Research Methodology: <br /><span style="font-family: Times New Roman; font-size: medium;"><span style="font-family: Times New Roman; font-size: medium;">The present research is a descriptive-analytic study, in which, library has been used as the data collection tool. Believing in the city’s layered mechanism, this study has investigated the concept of the city entrance as a perspective location, and has ultimately provided the indicators of the entrance of contemporary cities.</span></span> <br />Conclusion: <br /><span style="font-family: Times New Roman; font-size: medium;"><span style="font-family: Times New Roman; font-size: medium;">The entrance is a window for perception of the city’s landscape and is an element to create an independent identity for the city landscape. Entrance perception requires regarding the semantic dimension of presence along the physical side. The city entrance as an indicator, apart from its physical identity, lies more in its semantic identification, as the entrance of the city does not have an identity independent of the city, rather the entrance is an element for creating an independent identity for the city landscape. The entrance is the dense modern perspective of a city, which is the today’s statement of the city. With this definition, entrance is not a joint, as the joint is an independent identity regardless of outside and inside. However, the entrance is not an independent identity; rather, it is a combination of identities.</span></span><strong><span style="font-family: Times New Roman; font-size: xx-small;"><span style="font-family: Times New Roman; font-size: xx-small;">Statement of Problem: </span></span></strong><span style="font-family: Times New Roman; font-size: medium;"><span style="font-family: Times New Roman; font-size: medium;">Apart from the structure of the city and arrangement of urban spaces, the evolution of modern cities seems to have become a dead texture of the city, and has been separated from its systematic structure in the old cities. Obviously, the entrance of the contemporary cities cannot imitate the entrance system of the ancient cities, since if the city is defined as a system consisting of various historical, natural, environmental, cultural, economic, etc. layers, it will be found that the entrance of this city cannot be defined apart from its structural layers. The entrance recovers its identity in association with the structural layers of the city in the systematic structure of the current cities. This association requires identification of the entrance capabilities and its effect on urban spaces.</span></span> <br />Objective: <br /><span style="font-family: Times New Roman; font-size: medium;"><span style="font-family: Times New Roman; font-size: medium;"> Investigation of the entrance of the contemporary cities is necessary in order to achieve the nature of the entrance as a perspective location, its essence and realization of its identity for redefining its concept in modern urbanization1. The entrance of the city as part of a whole needs redefining the entrance position in the city system. In that light, the present study’s aim is to attempt to explain the perceived indicative parameters of modern cities.</span></span> <br />Research Methodology: <br /><span style="font-family: Times New Roman; font-size: medium;"><span style="font-family: Times New Roman; font-size: medium;">The present research is a descriptive-analytic study, in which, library has been used as the data collection tool. Believing in the city’s layered mechanism, this study has investigated the concept of the city entrance as a perspective location, and has ultimately provided the indicators of the entrance of contemporary cities.</span></span> <br />Conclusion: <br /><span style="font-family: Times New Roman; font-size: medium;"><span style="font-family: Times New Roman; font-size: medium;">The entrance is a window for perception of the city’s landscape and is an element to create an independent identity for the city landscape. Entrance perception requires regarding the semantic dimension of presence along the physical side. The city entrance as an indicator, apart from its physical identity, lies more in its semantic identification, as the entrance of the city does not have an identity independent of the city, rather the entrance is an element for creating an independent identity for the city landscape. The entrance is the dense modern perspective of a city, which is the today’s statement of the city. With this definition, entrance is not a joint, as the joint is an independent identity regardless of outside and inside. However, the entrance is not an independent identity; rather, it is a combination of identities.</span></span>Nazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635156020180522A comparative investigation and analysis between the neighborhood concept in the traditional urban system in Iran and its similar patterns in contemporary periodA comparative investigation and analysis between the neighborhood concept in the traditional urban system in Iran and its similar patterns in contemporary period15286276110.22034/bagh.2018.62761FASeyyed Fakhroddin HosseiniM. A. in Architecture, Tehran, Iran.Mehrdad SoltaniAssistant Professor in Architecture, Staff at Department of Architecture, University of Zanjan.Journal Article20180521Developing a suitable scale for the neighborhood in proportion to the whole city helps us better recognize and control the social dimensions of the neighborhood. Such a scale facilitates local management, self-sufficiency, integrity and social cohesion. It also develops the sense of identity and sense of belonging to place among the inhabitants. In so doing, the inhabitants and the regions can have th eir true potential fulfilled. In addition, the practitioners and those who are seeking a sustainable solution for the problems of cities such as urban decay, pollution, disturbances, and degradation of the quality of life, would be encouraged to reap the benefits mentioned above. Unfortunately, in the current urbanization development of Iran, neighborhoodism has failed to produce efficient outcomes partly due to variety of reasons such as the lack of understanding of the neighborhood or associative concepts, replacing the neighborhood patterns with the current patterns of the contemporary period, and adopting inefficient neighborhoodism system not aligned with the context. Therefore, this study is an attempt to analyze the neighborhood concept and carry out a comparative analysis between the neighborhood concept in the traditional urban system in Iran and its concept in contemporary alternative patterns. Identifying such differences in the neighborhood concept would help us better use the neighborhoodism as a solution to the above-mentioned problem. <br />To this end, documentary and library data were collected then analyzed through the descriptive and analytical method. Based on the results, the neighborhood is a physical-semantic concept whose purpose in the old urbanization of Iran and contemporary patterns is the same. However, the differences between them are related to the time and the process of development. In other words, the contributions of the residents to the gradual development of the neighborhood in the traditional Iranian system have given valuable cultural-historical meanings to the neighborhood and constructed its identity. In comparison, pre-designed contemporary patterns have sought to foster such values. This goal has sometimes been accomplished and sometimes not.Developing a suitable scale for the neighborhood in proportion to the whole city helps us better recognize and control the social dimensions of the neighborhood. Such a scale facilitates local management, self-sufficiency, integrity and social cohesion. It also develops the sense of identity and sense of belonging to place among the inhabitants. In so doing, the inhabitants and the regions can have th eir true potential fulfilled. In addition, the practitioners and those who are seeking a sustainable solution for the problems of cities such as urban decay, pollution, disturbances, and degradation of the quality of life, would be encouraged to reap the benefits mentioned above. Unfortunately, in the current urbanization development of Iran, neighborhoodism has failed to produce efficient outcomes partly due to variety of reasons such as the lack of understanding of the neighborhood or associative concepts, replacing the neighborhood patterns with the current patterns of the contemporary period, and adopting inefficient neighborhoodism system not aligned with the context. Therefore, this study is an attempt to analyze the neighborhood concept and carry out a comparative analysis between the neighborhood concept in the traditional urban system in Iran and its concept in contemporary alternative patterns. Identifying such differences in the neighborhood concept would help us better use the neighborhoodism as a solution to the above-mentioned problem. <br />To this end, documentary and library data were collected then analyzed through the descriptive and analytical method. Based on the results, the neighborhood is a physical-semantic concept whose purpose in the old urbanization of Iran and contemporary patterns is the same. However, the differences between them are related to the time and the process of development. In other words, the contributions of the residents to the gradual development of the neighborhood in the traditional Iranian system have given valuable cultural-historical meanings to the neighborhood and constructed its identity. In comparison, pre-designed contemporary patterns have sought to foster such values. This goal has sometimes been accomplished and sometimes not.Nazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635156020180522Sohrab Shahid Saless and Acinema in Iran (Case study: A simple event and Still Life)Sohrab Shahid Saless and Acinema in Iran (Case study: A simple event and Still Life)29366276310.22034/bagh.2018.62763FAHamed SoleimanzadehPh. D. Condidate of art research, Nazar research center of Art, Architecture and Urbanism, Tehran, Iran.Majid SarsangiDepartment of Arts, School of Performing Arts and Music, College of Fine Arts, University of Tehran.Journal Article20180521Statement: Sohrab Shahid Saless is one of the most important directors of Iranian cinema during the pre-Islamic era. He was able to establish a new stream of Iranian cinema with his works of cinema, including films (A simple event) and (Still life). Slowly The elements of Shahid Saless’s cinema are based on unusual cinema that can be considered close to the interpretation of French contemporary philosopher Jean-François Lyotard. Lyotard believes that if we interpret the cinema as writing with motion, then two categories of movements (excessive movement) and (excessive stagnation) are considered to be nasty, because in fact the rejection of all that is We know the contractual rules of the film in the cinema. These two types of moves can even be recognized and emphasized in certain scenes of the films. The cinema of Sohrab Shahid Saless is a cinema that according to the historical, cultural, social, political and economic foundations of the 50s, 60s and 70s, has a different course with the cinema of the body or the mainstream of Iran, and has succeeded in following the principles of Lyotard’s nobility and The rule (excessive stagnation) and (non-returning or libidical) in the design of elements of narrative and lightweight is a new expression in the cinema. <br />Purpose: To introduce Shahid Saless’s cinema as a manifestation of the presence of stream (Acinema) in Iran <br />Research method: The research methodology of this paper is based on descriptive-analytical approach and the library method has been used in collecting information. <br />Conclusion: Sohrab Shahid Saless, with an emphasis on the realist world-wide process of national-cultural-nationalist struggles against imported thinking from the vulnerable economy, as well as the movement based on the persistence of Iranian-Islamic mysticism, created a new intolerance in Iran. The films (a simple event) and (still life), produced in the years 1974 and 1976 by Sohrab Shahid Saless are successful examples of the current (Acinema) flow in Iran.Statement: Sohrab Shahid Saless is one of the most important directors of Iranian cinema during the pre-Islamic era. He was able to establish a new stream of Iranian cinema with his works of cinema, including films (A simple event) and (Still life). Slowly The elements of Shahid Saless’s cinema are based on unusual cinema that can be considered close to the interpretation of French contemporary philosopher Jean-François Lyotard. Lyotard believes that if we interpret the cinema as writing with motion, then two categories of movements (excessive movement) and (excessive stagnation) are considered to be nasty, because in fact the rejection of all that is We know the contractual rules of the film in the cinema. These two types of moves can even be recognized and emphasized in certain scenes of the films. The cinema of Sohrab Shahid Saless is a cinema that according to the historical, cultural, social, political and economic foundations of the 50s, 60s and 70s, has a different course with the cinema of the body or the mainstream of Iran, and has succeeded in following the principles of Lyotard’s nobility and The rule (excessive stagnation) and (non-returning or libidical) in the design of elements of narrative and lightweight is a new expression in the cinema. <br />Purpose: To introduce Shahid Saless’s cinema as a manifestation of the presence of stream (Acinema) in Iran <br />Research method: The research methodology of this paper is based on descriptive-analytical approach and the library method has been used in collecting information. <br />Conclusion: Sohrab Shahid Saless, with an emphasis on the realist world-wide process of national-cultural-nationalist struggles against imported thinking from the vulnerable economy, as well as the movement based on the persistence of Iranian-Islamic mysticism, created a new intolerance in Iran. The films (a simple event) and (still life), produced in the years 1974 and 1976 by Sohrab Shahid Saless are successful examples of the current (Acinema) flow in Iran.Nazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635156020180522Tolerance; a Spiritual Strategy or a Strategic Spirituality in Development of Creative TourismTolerance; a Spiritual Strategy or a Strategic Spirituality in Development of Creative Tourism38506276410.22034/bagh.2018.62764FAMehrnoush BastenegarPh.D. candidate in Tourism Management, University of Science and Culture.Ali HassaniAssistant Professor, University of Science and Culture. Corresponding authorJournal Article20180521The idea of creative city was presented and emphasized internationally after the introduction of the infill growth patterns focusing on local culture and creativity. Florida, a prominent theorists of the "Creative City", crystalizes three factors of tolerance, talent and technology1 into the main characteristics of the creative city through which the creative city will succeed. Among these three factors, tolerance play a more substantial and strategic role, since the presence of talent and technology is satisfied in case tolerance is adopted. Florida believes that an open-minded and tolerant culture is the major reason for the city’s new economic success. <br />Creative tourism, as the third generation of tourisms, is characterized by the sophistication of tourists and their desire for having diverse experiences on the one hand; and, it is inevitably applauded in tourist destinations since no huge investments is required to highlight culture, local customs, and the unique characteristics of cities on the other hand. Creative tourism is a process that is undoubtedly necessary and appropriate for city development. <br />This paper aims at scrutinizing the strategic role of tolerance in this process. Creative and supply-based, destination-based and activity-based tourism in the context of the creative city should inevitably ensure tolerance, as the most important spiritual component of the creative city, in order to flourish human talents in a favorable ambience and lead to technology production. In this way, local communities will enjoy the benefits of development and prosperity. Having used a descriptive-analytic research method, the current study shows that tolerance is a spiritual strategy for the development of creative tourism. Tolerance can be realized in the context of the creative city where creative tourism and creative city will benefit from each other. It is also determined that tolerance is highlighted in the quadruple sources of spirituality.The idea of creative city was presented and emphasized internationally after the introduction of the infill growth patterns focusing on local culture and creativity. Florida, a prominent theorists of the "Creative City", crystalizes three factors of tolerance, talent and technology1 into the main characteristics of the creative city through which the creative city will succeed. Among these three factors, tolerance play a more substantial and strategic role, since the presence of talent and technology is satisfied in case tolerance is adopted. Florida believes that an open-minded and tolerant culture is the major reason for the city’s new economic success. <br />Creative tourism, as the third generation of tourisms, is characterized by the sophistication of tourists and their desire for having diverse experiences on the one hand; and, it is inevitably applauded in tourist destinations since no huge investments is required to highlight culture, local customs, and the unique characteristics of cities on the other hand. Creative tourism is a process that is undoubtedly necessary and appropriate for city development. <br />This paper aims at scrutinizing the strategic role of tolerance in this process. Creative and supply-based, destination-based and activity-based tourism in the context of the creative city should inevitably ensure tolerance, as the most important spiritual component of the creative city, in order to flourish human talents in a favorable ambience and lead to technology production. In this way, local communities will enjoy the benefits of development and prosperity. Having used a descriptive-analytic research method, the current study shows that tolerance is a spiritual strategy for the development of creative tourism. Tolerance can be realized in the context of the creative city where creative tourism and creative city will benefit from each other. It is also determined that tolerance is highlighted in the quadruple sources of spirituality.Nazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635156020180522Phenomenology of Garden in Assyrian Documents and Reliefs; Concepts and TypesPhenomenology of Garden in Assyrian Documents and Reliefs; Concepts and Types51626276510.22034/bagh.2018.62765FAAli AsadpourPh.D. in Architecture, Assistant professor, Shiraz University of Arts, Fars, Iran.0000-0002-6837-0804Journal Article20180521Problem: The Assyrian reliefs, especially the Neo-Assyrian, in addition to "historical narratives," have a long tradition in "representing the natural environment." On the other hand, Assyrian dipole ontology based on the "center/periphery" and "order/chaos" dichotomy has been influential in their naturalistic way of life and has shaped their aesthetic understanding. However, the role of these in shaping the garden as a third nature is a major issue in the Assyrian documents and reliefs, which has been considered less as an independent research, and no model has been presented.Goals: The purpose of this paper is to identify the key factors affecting the formation of gardens in the Neo-Assyrians and their typology and modeling their view of the garden and its various functions based on the analysis of research texts and surviving reliefs. <br />Research method: This research based on a qualitative method in a critical and inferential approach and with an explicit reading of the phenomenology of the garden in the lands of Neo-Assyrians. The "triangulation of data" has been used to achieve theoretical saturation. <br />Conclusion: The results show that gardens with the Assyrians are manifestations of the "microcosm" and include a spectrum of recreational-dramatic functions, including occasional, even ecological and economic ones. The typology proposed in this paper based on the location-operation of (a) gardens and parks in the urban landscape, and (b) gardens and parks of the urban fringe. The conceptual model, show that by moving away from downtown and decreasing gardens ritual and religious values, geometric and regular design changes to a free (natural) approaches landscape planningThe change in the paradigm of garden design based on the change of the garden from "Kirū" to "Kirimāhu" means the succession of dramatic gardens (fun and pleasure) instead of functional gardens (botanical) at the time of Sargon II (late 8th century BC), and this is The golden age in the Assyrian gardens, the elements of the dramatic art such as artificial lakes, Bitānu, and Aqueducts were added to the gardens and hanging and stepped gardens were flourishing.Problem: The Assyrian reliefs, especially the Neo-Assyrian, in addition to "historical narratives," have a long tradition in "representing the natural environment." On the other hand, Assyrian dipole ontology based on the "center/periphery" and "order/chaos" dichotomy has been influential in their naturalistic way of life and has shaped their aesthetic understanding. However, the role of these in shaping the garden as a third nature is a major issue in the Assyrian documents and reliefs, which has been considered less as an independent research, and no model has been presented.Goals: The purpose of this paper is to identify the key factors affecting the formation of gardens in the Neo-Assyrians and their typology and modeling their view of the garden and its various functions based on the analysis of research texts and surviving reliefs. <br />Research method: This research based on a qualitative method in a critical and inferential approach and with an explicit reading of the phenomenology of the garden in the lands of Neo-Assyrians. The "triangulation of data" has been used to achieve theoretical saturation. <br />Conclusion: The results show that gardens with the Assyrians are manifestations of the "microcosm" and include a spectrum of recreational-dramatic functions, including occasional, even ecological and economic ones. The typology proposed in this paper based on the location-operation of (a) gardens and parks in the urban landscape, and (b) gardens and parks of the urban fringe. The conceptual model, show that by moving away from downtown and decreasing gardens ritual and religious values, geometric and regular design changes to a free (natural) approaches landscape planningThe change in the paradigm of garden design based on the change of the garden from "Kirū" to "Kirimāhu" means the succession of dramatic gardens (fun and pleasure) instead of functional gardens (botanical) at the time of Sargon II (late 8th century BC), and this is The golden age in the Assyrian gardens, the elements of the dramatic art such as artificial lakes, Bitānu, and Aqueducts were added to the gardens and hanging and stepped gardens were flourishing.Nazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635156020180522The Mystical Symbols in the Images of the Hell of the Mir Heydar Miraj NameThe Mystical Symbols in the Images of the Hell of the Mir Heydar Miraj Name63746276610.22034/bagh.2018.62766FAMahdi MohamadzadehAssociate Professor, Faculty Member of Islamic Art, University of Tabriz.0000-0003-1521-4469Rahim Charkhiinstructer Tabriz Islamic Art universityZahra YariGraduate Masters of Islamic Arts, Islamic Art, University of Tabriz.Journal Article20180521According to the religions, Hell is the place in the other world, where the sinners are punished in various forms. The description of this issue is detailed in the Holy Qur’an and related narrative to the ascension in Islamic thought , and its representation can be seen in Islamic painting, especially in Iranian illustrated manuscripts. One of the manuscripts in which the subject of Hell was widely illustrated, are copies of the famous of Mir Heydar’s Miraj Name, Which relates to the Timurid age. According to the spiritual nature of the subject on the one hand and the mystical context of the Timurid age, on the other hand, the painters of this version have used mystical symbols in the creation of images frequently. <br />The purpose of this article is to achieve the visual interpretation of Hell and its Qur’anic narrative by the Timurid painters, which includes the Qur’an and hadiths. The present paper, which is a library method, identifies and explores the mystical symbols in these images by analyzing the descriptive method and examining 16 inferiors of this version. <br />Therefore the research question is that the Mir Heydar Miraj Name’s illustrators reference to which of the mystical symbols used to express the image of hell ? <br />The results show that the painters, in In addition to illustrating the literary narrative, the photographers have also expressed their symbolic meanings. This This expression is seen in a variety of visual approaches that synchronize with mystical symbols. Symbols such as fire, darkness, thorns, chains; the fire, which sees concepts like love, greed, austerity, lust and devil as an instance of it,and darkness is the source of soul in the spiritual world , In fact, the transplantation of the soul into the body are a descending from the light to the dark world, darkness because of getting away from its essence. These mystical concepts in the pictures of this version are references to their illustrious pictorial view, thus the apparent meaning of the story, giving rise to the inner meaning of which is the same as the teaching of religious doctrines.According to the religions, Hell is the place in the other world, where the sinners are punished in various forms. The description of this issue is detailed in the Holy Qur’an and related narrative to the ascension in Islamic thought , and its representation can be seen in Islamic painting, especially in Iranian illustrated manuscripts. One of the manuscripts in which the subject of Hell was widely illustrated, are copies of the famous of Mir Heydar’s Miraj Name, Which relates to the Timurid age. According to the spiritual nature of the subject on the one hand and the mystical context of the Timurid age, on the other hand, the painters of this version have used mystical symbols in the creation of images frequently. <br />The purpose of this article is to achieve the visual interpretation of Hell and its Qur’anic narrative by the Timurid painters, which includes the Qur’an and hadiths. The present paper, which is a library method, identifies and explores the mystical symbols in these images by analyzing the descriptive method and examining 16 inferiors of this version. <br />Therefore the research question is that the Mir Heydar Miraj Name’s illustrators reference to which of the mystical symbols used to express the image of hell ? <br />The results show that the painters, in In addition to illustrating the literary narrative, the photographers have also expressed their symbolic meanings. This This expression is seen in a variety of visual approaches that synchronize with mystical symbols. Symbols such as fire, darkness, thorns, chains; the fire, which sees concepts like love, greed, austerity, lust and devil as an instance of it,and darkness is the source of soul in the spiritual world , In fact, the transplantation of the soul into the body are a descending from the light to the dark world, darkness because of getting away from its essence. These mystical concepts in the pictures of this version are references to their illustrious pictorial view, thus the apparent meaning of the story, giving rise to the inner meaning of which is the same as the teaching of religious doctrines.