Nazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635179020201121Redefining the Ontology of Place as the Urban-RelationalRedefining the Ontology of Place as the Urban-Relational51811842110.22034/bagh.2020.202498.4316FAReza Basiri MozhdehiPh.D. candidate in Urban Design, Iran University of Science and Technology, Tehran, Iran.0000-0002-8385-126XSeyed Abdolhadi DaneshpourAssociate professor, School of Architecture and Environmental Design, Iran University of Science and Technology, Tehran, Iran.Mehran AlalhesabiAssociate professor, School of Architecture and Environmental Design, Iran University of Science and Technology, Tehran, Iran.Journal Article20190922Problem statement: The contemporary metropolis faces two sometimes conflicting roles through the discursive and paradigmatic developments in the world: role-playing at the national/ transnational level and meeting local-level expectations. Similarly, and because of the multiplicity and diversity of relations between these two levels and the different subjects underlying these dual roles, the ontological definition of “place” in this metropolis has to be changed. Here, we are considering a conception of the existence of the place in which it can adopt the aforementioned complex communications and the probable and unseen conflicts within it as a quasi-object (the contained), and manage it as a quasi-subject (container) and accommodate it.<br />Research objective: Redefining the ontology of place in such a way that it can mediate as an intermediate layer, i.e. “the urban-relational” between these two role-playing levels: place as a quasi-object / place as a quasi-subject.<br />Research method: The research paradigm focuses on post-positivist schemata and the post-structuralism approach, and follows the ontology of place as an urban-relational entity in today’s metropolis. The method of this research is qualitative and its type is developmental-exploratory. This research seeks to present a new ontology of the concept of place in metropolis through the review of library documents and the description, analysis, and extension of ideas and theoretical approaches.<br />Conclusion: place as a quasi-object/ quasi-subject must be a communicative mediator (the urban-relational) between the two different levels of role-playing, thereby regulating the communications of multiple and sometimes heterogeneous subjects and adjust conflicts between them. The mediation coordinates of this urban-relational intermediate layer allow for four spectral states for the level of place-ness: towards minimal place-ness; towards maximal place-ness; towards some extent of place-ness; the probability of anarchy and disorder.<br /><br />Problem statement: The contemporary metropolis faces two sometimes conflicting roles through the discursive and paradigmatic developments in the world: role-playing at the national/ transnational level and meeting local-level expectations. Similarly, and because of the multiplicity and diversity of relations between these two levels and the different subjects underlying these dual roles, the ontological definition of “place” in this metropolis has to be changed. Here, we are considering a conception of the existence of the place in which it can adopt the aforementioned complex communications and the probable and unseen conflicts within it as a quasi-object (the contained), and manage it as a quasi-subject (container) and accommodate it.<br />Research objective: Redefining the ontology of place in such a way that it can mediate as an intermediate layer, i.e. “the urban-relational” between these two role-playing levels: place as a quasi-object / place as a quasi-subject.<br />Research method: The research paradigm focuses on post-positivist schemata and the post-structuralism approach, and follows the ontology of place as an urban-relational entity in today’s metropolis. The method of this research is qualitative and its type is developmental-exploratory. This research seeks to present a new ontology of the concept of place in metropolis through the review of library documents and the description, analysis, and extension of ideas and theoretical approaches.<br />Conclusion: place as a quasi-object/ quasi-subject must be a communicative mediator (the urban-relational) between the two different levels of role-playing, thereby regulating the communications of multiple and sometimes heterogeneous subjects and adjust conflicts between them. The mediation coordinates of this urban-relational intermediate layer allow for four spectral states for the level of place-ness: towards minimal place-ness; towards maximal place-ness; towards some extent of place-ness; the probability of anarchy and disorder.<br /><br />http://www.bagh-sj.com/article_118421_af8efd2ce51f2142594260f50ef4f84b.pdfNazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635179020201121The Impact of Architectural Spaces on Iranian Expressionist Films
A Comparative Study with German Expressionist CinemaThe Impact of Architectural Spaces on Iranian Expressionist Films
A Comparative Study with German Expressionist Cinema193411841910.22034/bagh.2020.198964.4307FAMohammad Taghi Rasfijani RasfijaniPh. D Student in Architecture, Faculty of Architecture and Urban Planning, Qazvin Branch, Islamic Azad University, Qazvin, Iran.0000-0002-2327-1132Abolfazl Karbalaei Hosseini GhiasvandPh. D of Architecture, Young Researchers and Elite Club, Qazvin Branch, Islamic Azad University, Qazvin, Iran.0000-0002-3388-9876Journal Article20190916Problem statement: Cinema and architecture are regarded as two corresponding categories that have had a mutual impact on each other since the life of cinema. In the last century, the impact of architecture on cinema has been reviewed. Since Iranian cinema is considered as one of the most effective stylish ones, the impact that it has had on the architectural spaces can naturally make it necessary to study in this field. Perhaps the most prominent style that influenced architectural form in cinema was the influence of expressionist architecture on cinema between the two world wars, where architecture and cinema are immensely close together. Expressionist, as one of the manifestations of the 20th century, has also appeared in Iranian cinema during decades, however, the lack of research in this area has left the impact of this type of architecture on Iranian expressionist films unknown.<br />Research objective: The aim of this study is to investigate Iranian expressionist cinema in the contemporary period and how films are influenced by architectural spaces.<br />Research method: This study was a qualitative study with comparative study and content analysis. In this passage, the expressionist concept and its concepts in architecture and cinema are discussed first, then by examining the examples and content analysis, the role of architectural spaces in Iranian expressionist cinema is examined.<br />Conclusion: The results show that the influence of architectural spaces on expressionist films in “A Party in Hell” has a tangible and intuitive reference to architectural spaces due to its massive decoration and adherence to expressionist pillars. Unlike other examples where these expressionist films have reduced the physical effects of architectural spaces to a minimal extent, other elements such as shadows and light have also been taken into consideration.<br /><br />Problem statement: Cinema and architecture are regarded as two corresponding categories that have had a mutual impact on each other since the life of cinema. In the last century, the impact of architecture on cinema has been reviewed. Since Iranian cinema is considered as one of the most effective stylish ones, the impact that it has had on the architectural spaces can naturally make it necessary to study in this field. Perhaps the most prominent style that influenced architectural form in cinema was the influence of expressionist architecture on cinema between the two world wars, where architecture and cinema are immensely close together. Expressionist, as one of the manifestations of the 20th century, has also appeared in Iranian cinema during decades, however, the lack of research in this area has left the impact of this type of architecture on Iranian expressionist films unknown.<br />Research objective: The aim of this study is to investigate Iranian expressionist cinema in the contemporary period and how films are influenced by architectural spaces.<br />Research method: This study was a qualitative study with comparative study and content analysis. In this passage, the expressionist concept and its concepts in architecture and cinema are discussed first, then by examining the examples and content analysis, the role of architectural spaces in Iranian expressionist cinema is examined.<br />Conclusion: The results show that the influence of architectural spaces on expressionist films in “A Party in Hell” has a tangible and intuitive reference to architectural spaces due to its massive decoration and adherence to expressionist pillars. Unlike other examples where these expressionist films have reduced the physical effects of architectural spaces to a minimal extent, other elements such as shadows and light have also been taken into consideration.<br /><br />http://www.bagh-sj.com/article_118419_9842ca1805a012820a2699ba877f2650.pdfNazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635179020201121Explaining the Mutual Relationship between Landscape Perception and Participation in the Process of Participatory Landscape DevelopmentExplaining the Mutual Relationship between Landscape Perception and Participation in the Process of Participatory Landscape Development355411795010.22034/bagh.2019.202680.4320FANafiseh GolestaniPh.D. Candidate in Architectural, Islamic Azad University, Bushehr Branch, Iran.Mehdi KhakzandPh.D. in Landscape Architecture, Associate Professor, School of Architecture & Environmental design, Iran University of Science & Technology, Tehran, Iran.Mohsen FaiziPh.D. in Landscape Architecture, Professor, School of Architecture & Environmental design, Iran University of Science & Technology, Tehran, Iran.0000000310220990Bagher KarimiPh.D. in Architecture, Islamic Azad University, Bushehr branch, Bushehr, Iran.Journal Article20190924Problem Statement: Creating communication between human and his/her environment has certainly played a vital role in human life and providing his/her material and spiritual needs from the distant past. This interaction has been exhibited in different eras and different landscapes and has reinforced the culture of the people of each country. Also, this interaction of environment and landscape with the help of perception and participation plays an important role in improving the qualitative dimensions of the landscape and it has been attempted to enhance it through a participatory landscape.<br />Research objective: The current paper aims to examine the perception characteristics of urban and participatory landscapes and to present adaptive factors of landscape perception and participation field.<br />Research method: In this study, a combination of content analysis and comparative methods has been used. First, it tries to reason about perception and participation, and then to seek ways of applying a comparative approach in a participatory landscape. The first section of this article focuses on theoretical discussions on perception and participation in content analysis, which have been made possible using qualitative strategies in the context of rational reasoning, then explores the perceptions and participation factors similarities via comparative analysis.<br /> Conclusion: Landscape perception is depended on spatia-visual, Functional, behavioral-visual and participation on participatory theory, multi level rangeand Participatory template and method AND Participatory ladder. By using these definitions, Conceptual model is presented in this article which shows the two-way relationship between landscape perception and participation. Results show that Reciprocal outcome by personal,generalized and institutional trust is effective in development and formation process of participatory landscape. At the end design participatory landscape pattern Provided with the opinion of experts.<br /><br />Problem Statement: Creating communication between human and his/her environment has certainly played a vital role in human life and providing his/her material and spiritual needs from the distant past. This interaction has been exhibited in different eras and different landscapes and has reinforced the culture of the people of each country. Also, this interaction of environment and landscape with the help of perception and participation plays an important role in improving the qualitative dimensions of the landscape and it has been attempted to enhance it through a participatory landscape.<br />Research objective: The current paper aims to examine the perception characteristics of urban and participatory landscapes and to present adaptive factors of landscape perception and participation field.<br />Research method: In this study, a combination of content analysis and comparative methods has been used. First, it tries to reason about perception and participation, and then to seek ways of applying a comparative approach in a participatory landscape. The first section of this article focuses on theoretical discussions on perception and participation in content analysis, which have been made possible using qualitative strategies in the context of rational reasoning, then explores the perceptions and participation factors similarities via comparative analysis.<br /> Conclusion: Landscape perception is depended on spatia-visual, Functional, behavioral-visual and participation on participatory theory, multi level rangeand Participatory template and method AND Participatory ladder. By using these definitions, Conceptual model is presented in this article which shows the two-way relationship between landscape perception and participation. Results show that Reciprocal outcome by personal,generalized and institutional trust is effective in development and formation process of participatory landscape. At the end design participatory landscape pattern Provided with the opinion of experts.<br /><br />http://www.bagh-sj.com/article_117950_851d58b12d403ec632e6aa034d8b6a68.pdfNazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635179020201121The Policy of the Press in Their Encounter with Modern Art in the 1330s (SH)/ 1940s and 1350s (SH)/ 1960sThe Policy of the Press in Their Encounter with Modern Art in the 1330s (SH)/ 1940s and 1350s (SH)/ 1960s556611842210.22034/bagh.2020.205677.4340FAKeyvan KhalilnezhadDepartment of Arts and Architecture, Faculty of Arts and Architecture, Central Tehran Branch, Islamic Azad University, Tehran, Iran.Mohammad Reza SharifzadehDepartment of Arts and Architecture, Faculty of Arts and Architecture, Central Tehran Branch, Islamic Azad University, Tehran, Iran.Parnaz GoodarzparvariDepartment of Visual Communication, Faculty of Art, Central Tehran Branch, Islamic Azad University, Tehran, Iran.0000-0003-4625-1895Journal Article20191106Problem statement: exploring the press is a big step toward documentation and portraying the mental interpretation of textual data. Qualitative analysis of the content of these texts displays the cultural approaches and policies and provides an opportunity for formulating the situation. During the 1330s/ 1950s and 1340s/ 1960s , when modern art in Iran was engaged in establishing and redefining itself, those press specialized in art and culture started to teach the ways of observing works of art. Simultaneous with these changes they were investigating the meaning of art. In exploring the atmosphere of that period, two models of nationalist and modernist were presupposed and were studied as two paradigms concerning tradition-modernity duality. This paper aims to explain these two paradigms through probing into the press archive in 20 years and elaborate the most vivid instance of each of them and finally put forward a new formulation of circumstances of that era.<br />Research objective: The main aim of this paper is to categorize and finally represent press policy. In the pursuit of this purpose, the intentions and policies were not posited as premises for understanding content and results and effects, but through analysis of content, it was intended to study policies and finally present a portrait of objective results of their execution.<br />Research method: Documentary research methods and library-based methods of research were applied for collecting of materials and analysis of content. The research methodology of this investigation is to study the recorded communication of human beings.<br />Conclusion: Iranian Press in the 1330s/ 1950s and 1340s/ 1960s formulated important issues such as the idea of liberation of art, the relation of Iranian art with modernism, the task of art and artist, etc. under the guidelines of three paradigms of progressivist, teaching-oriented and national art.<br /><br />Problem statement: exploring the press is a big step toward documentation and portraying the mental interpretation of textual data. Qualitative analysis of the content of these texts displays the cultural approaches and policies and provides an opportunity for formulating the situation. During the 1330s/ 1950s and 1340s/ 1960s , when modern art in Iran was engaged in establishing and redefining itself, those press specialized in art and culture started to teach the ways of observing works of art. Simultaneous with these changes they were investigating the meaning of art. In exploring the atmosphere of that period, two models of nationalist and modernist were presupposed and were studied as two paradigms concerning tradition-modernity duality. This paper aims to explain these two paradigms through probing into the press archive in 20 years and elaborate the most vivid instance of each of them and finally put forward a new formulation of circumstances of that era.<br />Research objective: The main aim of this paper is to categorize and finally represent press policy. In the pursuit of this purpose, the intentions and policies were not posited as premises for understanding content and results and effects, but through analysis of content, it was intended to study policies and finally present a portrait of objective results of their execution.<br />Research method: Documentary research methods and library-based methods of research were applied for collecting of materials and analysis of content. The research methodology of this investigation is to study the recorded communication of human beings.<br />Conclusion: Iranian Press in the 1330s/ 1950s and 1340s/ 1960s formulated important issues such as the idea of liberation of art, the relation of Iranian art with modernism, the task of art and artist, etc. under the guidelines of three paradigms of progressivist, teaching-oriented and national art.<br /><br />http://www.bagh-sj.com/article_118422_b185aca102631898b7edcf148f288739.pdfNazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635179020201121Investigating Ilkhanid Architecture based on the Architectural of UjanInvestigating Ilkhanid Architecture based on the Architectural of Ujan678011842310.22034/bagh.2020.211261.4379FARahim VelayatiAssistant Professor, Department of Archaeology, Faculty of Literatures and Humanities, University of Tehran , Iran.Hamid KaramipourAssistant Professor, Department of History, Faculty of Literatures and Humanities, University of Tehran, Iran.Farzaneh Saadati RadM.A. of Archaeology, Shahid Beheshti University, Iran.Journal Article20191217Problem statement: The most important architectural monuments of the Mongol period (7th and 8th centuries AH/14th and 15th centuries AD) were built in the land of Azerbaijan, which was the political center of the Mongol state.<br />Some of these important architectural monuments are such as a Maragheh Observatory, numerous monuments in Tabriz, such as the mosque, caravanserai, and the bazaar, as well as two Ghazaniyya settlements and Rabi Rashidi. One of the most important cities in this period is Soltanieh, which construction and development of the city, in this period, was due to the passage of major trade routes. Meanwhile, a new area that has recently been discovered and excavated is the city of Ujan, which has been selected and built as the summer capital of the Ilkhans due to its large meadows and also being located at the crossroads of Central Asia to Mesopotamia and northwest to the Central Plateau of Iran. An important building has been found in this city, which has been excavated and studied for 4 seasons, and during this excavation, interesting and remarkable information about Ilkhanid architecture has been obtained.<br />Research objective: Therefore, in this article, we intend to introduce the architecture of the building found in this city, which is the government citadel and castle and study the Ilkhanid architecture based on the works found in this city. This article has been written with an archaeological approach and according to the archaeological excavations carried out in this area and intends to present a report of four seasons of excavation in the government citadel and castle of the historical city of Ujan, which was built on the ruins and remnants of ancient period Seljuq. <br />Conclusion:The architects of the Ujan, were not only influenced by the style and pattern of Seljuq architecture, but also by the architectural style of the previous periods of Iran, they presented a new pattern and method in making and decorating architectural works.<br /><br />Problem statement: The most important architectural monuments of the Mongol period (7th and 8th centuries AH/14th and 15th centuries AD) were built in the land of Azerbaijan, which was the political center of the Mongol state.<br />Some of these important architectural monuments are such as a Maragheh Observatory, numerous monuments in Tabriz, such as the mosque, caravanserai, and the bazaar, as well as two Ghazaniyya settlements and Rabi Rashidi. One of the most important cities in this period is Soltanieh, which construction and development of the city, in this period, was due to the passage of major trade routes. Meanwhile, a new area that has recently been discovered and excavated is the city of Ujan, which has been selected and built as the summer capital of the Ilkhans due to its large meadows and also being located at the crossroads of Central Asia to Mesopotamia and northwest to the Central Plateau of Iran. An important building has been found in this city, which has been excavated and studied for 4 seasons, and during this excavation, interesting and remarkable information about Ilkhanid architecture has been obtained.<br />Research objective: Therefore, in this article, we intend to introduce the architecture of the building found in this city, which is the government citadel and castle and study the Ilkhanid architecture based on the works found in this city. This article has been written with an archaeological approach and according to the archaeological excavations carried out in this area and intends to present a report of four seasons of excavation in the government citadel and castle of the historical city of Ujan, which was built on the ruins and remnants of ancient period Seljuq. <br />Conclusion:The architects of the Ujan, were not only influenced by the style and pattern of Seljuq architecture, but also by the architectural style of the previous periods of Iran, they presented a new pattern and method in making and decorating architectural works.<br /><br />http://www.bagh-sj.com/article_118423_d6dd03d4cc68bc2d2a25a033ea4695ad.pdfNazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635179020201121The Convergence of Persian Architecture with MiniatureThe Convergence of Persian Architecture with Miniature819211842410.22034/bagh.2020.229615.4532FABehrooz JanipourAssistant Professor, At Department of
Agricultural Sciences and Engineering, University of Tehran, Iran.0000-0001-5777-1330Niloofar MohammadiM.A. Architecture, Department of Architecture, Ahvaz Branch, Islamic Azad University, Iran.Golshan Rezaei Mir-ghaedM. A. Architecture, Department of Architecture, Ahvaz Branch, Islamic Azad University, Iran.Journal Article20200505Problem statement: Painting is considered as a way for understanding and reviving the principles in Persian -Islamic architecture. In order to understand these paintings, their features should be identified, and the governing principles as well as depicting architecture should be achieved. Evaluating the creation of space and using the principles of Persian architecture by the Iranian artist in his works help to understand Persian paintings better. In addition, the lack of a coherent and systematic method for expressing and understanding the images of paintings, as the historical documents of Islamic architecture, necessitates the recognition of these two arts more than ever.<br />Research question: Which principles and points can be understood by evaluating the role of Persian architecture in traditional miniature paintings and matching to historical monuments?<br />Research objective: The present comparative study of the basic concepts related to Persian architecture with painting aimed to find the most widely used principles and concepts of Persian architecture manifested in the paintings.<br />Research Method: In the present qualitative and comparative study, the sources were collected by the library method and analyzed using qualitative analysis and graphical analysis.<br />Conclusion: The findings indicated that Iranian painters have painted by following the principles of Persian architecture fully and consciously and using the measures that showed convergence and compliance with the principles in architecture. Subsequently, proving the convergence of the principles in painting with the principles of Persian architecture indicated that the common principles in the concept of diversity in unity, which is one of the basic concepts in Persian -Islamic architecture, had the greatest manifestation in painting.<br /><br />Problem statement: Painting is considered as a way for understanding and reviving the principles in Persian -Islamic architecture. In order to understand these paintings, their features should be identified, and the governing principles as well as depicting architecture should be achieved. Evaluating the creation of space and using the principles of Persian architecture by the Iranian artist in his works help to understand Persian paintings better. In addition, the lack of a coherent and systematic method for expressing and understanding the images of paintings, as the historical documents of Islamic architecture, necessitates the recognition of these two arts more than ever.<br />Research question: Which principles and points can be understood by evaluating the role of Persian architecture in traditional miniature paintings and matching to historical monuments?<br />Research objective: The present comparative study of the basic concepts related to Persian architecture with painting aimed to find the most widely used principles and concepts of Persian architecture manifested in the paintings.<br />Research Method: In the present qualitative and comparative study, the sources were collected by the library method and analyzed using qualitative analysis and graphical analysis.<br />Conclusion: The findings indicated that Iranian painters have painted by following the principles of Persian architecture fully and consciously and using the measures that showed convergence and compliance with the principles in architecture. Subsequently, proving the convergence of the principles in painting with the principles of Persian architecture indicated that the common principles in the concept of diversity in unity, which is one of the basic concepts in Persian -Islamic architecture, had the greatest manifestation in painting.<br /><br />http://www.bagh-sj.com/article_118424_4e42e08d9863937fa8a2e66a4d128d9d.pdfNazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635179020201121A Qualitative Analysis of Public Buildings on Contemporary Iranian Architecture in the Second Pahlavi Era based on the Architectural Tectonic ApproachA Qualitative Analysis of Public Buildings on Contemporary Iranian Architecture in the Second Pahlavi Era based on the Architectural Tectonic Approach9311011842510.22034/bagh.2020.191552.4187FANourmohammad AfshariPh.D. Candidate in Architecture, Faculty of Technical and Engineering, Kermanshah Branch, Islamic Azad University, Kermanshah, Iran.0000-0001-7257-0123Bizhan KalhorniaAssistant Professor in Architecture, Faculty of Technical and Engineering, Kermanshah
Branch, Islamic Azad University, Kermanshah, Iran.Seyyed Ali Nouri NouriAssistant Professor in Architecture, Faculty of Technical and Engineering, Kermanshah
Branch, Islamic Azad University, Kermanshah, Iran.Journal Article20190625Problem statement: The relationship between construction, structure, and architecture will be discussed here as it seems sort of divergence has been appearing between them. Here, the connection between structure and architecture will be defined by a word called ‘Tectonic. It seems it can create a coherent and meaningful framework for the connection between design, structure, architecture, and construction. <br />Research objectives: The purpose is to provide a precise definition of architectural tectonic interpretation, recognizing the possible unity or disconnection among the structures, construction, and architecture, performing analytical knowledge and determining the factors affecting the spatial uniformity by studying the public buildings of contemporary Iranian architecture in the second Pahlavi era.<br />Research method: For doing a tectonic reading of case studies according to the target design, the method of document analysis and descriptive observation has been used based on the phenomenology that was driven by the elite. Meantime, the selection of case samples has been made by examining the results of questionnaires that were distributed among the architectural experts. Moreover, in the research process, the MAXQDA quality software and SPSS statistical software were used to provide more conceptual outputs. Finally, using the Triangulation (the phenomenological reading, researcher’s inferences based on available documents and rich tectonic literature), the strength and validation of research in various aspects have also been studied.<br />Conclusion: The results show that architectural tectonic can be explained by the dimensions of the structure, shell, materials, details, and facilities, which are structurally related to geometry, participation in space organization, and visual induction of stability, in particular with shells, materials, and micro-criteria. Furthermore, the dimensions of architectural tectonic structures with their various components, compared to other related parts have been more presented in the structural tectonic reading of contemporary Iranian public buildings which were available in the second Pahlavi era.<br /><br />Problem statement: The relationship between construction, structure, and architecture will be discussed here as it seems sort of divergence has been appearing between them. Here, the connection between structure and architecture will be defined by a word called ‘Tectonic. It seems it can create a coherent and meaningful framework for the connection between design, structure, architecture, and construction. <br />Research objectives: The purpose is to provide a precise definition of architectural tectonic interpretation, recognizing the possible unity or disconnection among the structures, construction, and architecture, performing analytical knowledge and determining the factors affecting the spatial uniformity by studying the public buildings of contemporary Iranian architecture in the second Pahlavi era.<br />Research method: For doing a tectonic reading of case studies according to the target design, the method of document analysis and descriptive observation has been used based on the phenomenology that was driven by the elite. Meantime, the selection of case samples has been made by examining the results of questionnaires that were distributed among the architectural experts. Moreover, in the research process, the MAXQDA quality software and SPSS statistical software were used to provide more conceptual outputs. Finally, using the Triangulation (the phenomenological reading, researcher’s inferences based on available documents and rich tectonic literature), the strength and validation of research in various aspects have also been studied.<br />Conclusion: The results show that architectural tectonic can be explained by the dimensions of the structure, shell, materials, details, and facilities, which are structurally related to geometry, participation in space organization, and visual induction of stability, in particular with shells, materials, and micro-criteria. Furthermore, the dimensions of architectural tectonic structures with their various components, compared to other related parts have been more presented in the structural tectonic reading of contemporary Iranian public buildings which were available in the second Pahlavi era.<br /><br />http://www.bagh-sj.com/article_118425_103bd2dee0c098890cff49f2eed10254.pdfNazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635179020201121The Realm of Imagination in the Illustration of the Children’s Book of the for the Age Group of 4 to 9 Years Based on the Theory of Samuel Taylor Coleridge*
(Case study: The works of Glenda Sburelin, Natalie Pudalov & Nicoletta Ceccoli)The Realm of Imagination in the Illustration of the Children’s Book of the for the Age Group of 4 to 9 Years Based on the Theory of Samuel Taylor Coleridge*
(Case study: The works of Glenda Sburelin, Natalie Pudalov & Nicoletta Ceccoli)11112611842810.22034/bagh.2020.206529.4345FAMarzieh TorajiPh.D. Candidate in Art research, University of Al-Zahra, Tehran, Iran.0000-0002-6047-019XEffat Sadat Afzal Tousissociate Professor of Department of Art Research, Faculty of Arts, Al-Zahra University, Tehran, Iran.0000-0002-6234-9238Journal Article20191025Problem statement: literature and art is placed in the realm of thought. The subject of imagination in children’s literature in England dates back to the 18th century, and the first illustrated books were written with the help of the imagination at that time. At the same time, the subject of imagination was dealt with in detail in English literature by Samuel Taylor Coleridge. Concerning the Coleridge approach, this study examines the process of innovative creativity in the creation of art by the artist. <br />Research objective: Given the importance of the imagination in illustration, this paper seeks to identify the basis for Coleridge’s ideas in creating children’s books illustration which is relying on the association of creator’s imagination and the suspension of disbelief, in the creation of works to acknowledge the recognition of children’s books and discuss the imagination in Coleridge’s ideas. Research Question is Would the imagination shown in children’s literary book illustrations comprise the Coleridge ‘s views?<br />Research method: According to what has been stated, the research aims to understand the role of imagination in illustration and its relation to virtue ability, and the way an artist and audience’s mind perceive art and the audience’s mind by using a descriptive-analytical method based on the written sources. Therefore, the theme of imagination will be analyzed using visual examples of famous foreign illustrators. <br />Conclusion: The children’s book illustration as a dependent issue is a relatively new phenomenon in Iran, which less has been dealt with compared to the other visual categories.<br />There are many gaps and shortcomings in this area, that can mostly be justified by its novelty and uncommonness. Therefore, the first and most important factor in the author’s approach to this field, and the research necessity was to fill a part of these gaps. Some of the illustrations in the children’s book seem to contain elements of Coleridge’s imagination. By seeing the image element in pictures, the child can discover the meaning behind it, receive the quiddity of phenomena rather than just receiving sensory perceptions.<br /><br />Problem statement: literature and art is placed in the realm of thought. The subject of imagination in children’s literature in England dates back to the 18th century, and the first illustrated books were written with the help of the imagination at that time. At the same time, the subject of imagination was dealt with in detail in English literature by Samuel Taylor Coleridge. Concerning the Coleridge approach, this study examines the process of innovative creativity in the creation of art by the artist. <br />Research objective: Given the importance of the imagination in illustration, this paper seeks to identify the basis for Coleridge’s ideas in creating children’s books illustration which is relying on the association of creator’s imagination and the suspension of disbelief, in the creation of works to acknowledge the recognition of children’s books and discuss the imagination in Coleridge’s ideas. Research Question is Would the imagination shown in children’s literary book illustrations comprise the Coleridge ‘s views?<br />Research method: According to what has been stated, the research aims to understand the role of imagination in illustration and its relation to virtue ability, and the way an artist and audience’s mind perceive art and the audience’s mind by using a descriptive-analytical method based on the written sources. Therefore, the theme of imagination will be analyzed using visual examples of famous foreign illustrators. <br />Conclusion: The children’s book illustration as a dependent issue is a relatively new phenomenon in Iran, which less has been dealt with compared to the other visual categories.<br />There are many gaps and shortcomings in this area, that can mostly be justified by its novelty and uncommonness. Therefore, the first and most important factor in the author’s approach to this field, and the research necessity was to fill a part of these gaps. Some of the illustrations in the children’s book seem to contain elements of Coleridge’s imagination. By seeing the image element in pictures, the child can discover the meaning behind it, receive the quiddity of phenomena rather than just receiving sensory perceptions.<br /><br />http://www.bagh-sj.com/article_118428_657078ec3caad4560d01642ddb367328.pdf