BAGH-E NAZAR
Year:2018 | Volume:15 | Issue:58 |Papers Count:6

Statement of the problem: Cities inherently encounter complex, interrelated, and widespread challenges that can only be solved through a systematic approach. In other words, the accumulation of a huge mass of people has led to chaos, and created the conditions that not only led to the collapse of the balance of the cities but also achievement of stability is impossible with the current methods of administration and urban development. As a result, urban planners around the world are trying to provide models with an integrative perspective to all aspects of urbanization development in the 21st century in order to meet new demands and expectations of today. One of the new concepts that deals with the current challenges in the field of urban planning is development of a smart city that has attracted much attention in recent years. Smart City has been raised as a pivotal factor of the Millennium Development that can open new concepts in urban planning and combine capabilities of real and virtual world to solve urban problems.Research goal: The aim of this study is to provide a foundation for researches in smart cities. In fact, it aims to explain the concept, meanings, dimensions, attributes, indexes, conventional beliefs, challenges and risks facing the smart city theoretically through profound analysis of relevant literature in this field and discussing the concept.Research Methodology: The research method is descriptive-analytical.Results: The results show that despite extensive literature on the concept of smart cities, a clear understanding and consensus on this issue does not exist and various academic researchers have suggested various contents.So that some smart technologies are considered as the only or least important component of the smart city, others have suggested a definition that goes beyond technology and believe that technology adoption is not the end. Technologies can be used in cities to empower citizens by adapting these technologies to their needs rather than adapting their lives to the requirements of technology. In addition, the meaning of a smart city is multifaceted. The key point is that cities must respond to changes in the context in which they operate. Moreover, what should be considered as intelligent depends on a variety of underlying conditions such as the political system, geography and dissemination of technology. In fact, smart solutions simply cannot be copied; therefore, the value for each field should be evaluated differently.

Sa’adat Abad Garden of Qazvin was built during the kingdom of Shah Tahmasb Safavid while transfering the capital to Qazvin. According to the available documentations, the reason for this transfer in 1554 A.D. (962 A.H.) was the hazard of Ottoman and Russian regimes for Tabriz. At the order of Shah Tahmasb Safavid, gardens and necessary settlements, court spaces and other buildings were made. He encouraged some of the country’s squirearchy and close relatives to build gardens alongside state-owned gardens. Around the Sa’adat Abad garden, there were about twenty three gardens. Shah Tahmasb asked a poet named Khaje Zein al-Abedin Ali Navidi, known as Abdi Beig Shirazi, born 1515 A.D. (921 A.H.) in Tabriz (d.1580 A.D.-988 A.H. in Ardebil), who was present at the Royal Court, to verse descriptions of Qazvin gardens. Abdi Beig’s Penta “Janat Aden (Gardens of Heaven) ” including five Masnavis “Rowdah-al-Sefat (garden of qualities) ”, “Dohat-al-Azhar (Tree of blooms) ”, “Jinnat-al-Asmar (Heaven of fruits) ”, “Zinat-al-Owragh (Ornament of leaves) ” and “Sahyfeh-al-Ekhlas (Book of devotion) ”, was the result of such effort, which contains valuable information about the generalities and details of this garden and its mansions. Abdi Beig’s poems are one of the most important documents about this garden, and it is clear from its description that Sa’adat Abad Garden wasa unique garden in that period. Among the most important spaces and features described in these poems it can be pointed to the street, gate, Arshikhaneh, Shervani’s house, porches, plane tree platform, pool house, garden geometry, and various types of trees and plants.The information available and the spaces mentioned in these poems are more than what is left today, and based on this information, one can get an overview of the general map of the garden and its spatial characteristics.The purpose of this study is to the design of this imperial garden complex based on the poems of Abdi Beig Shirazi and to compare it with other texts and historical documents. The method used in this research is a historicalinterpretative.The results are deducted by analyzing existing texts, images and maps. method that will result in goals after induction and analyzing the texts, existing images and maps. The general structures of the garden and its main elements including Aliqapu gate, Arshikhaneh (Chehelsotun), Shervani’s House, Royal court (Shah’s loggia) are among the most important elements analyzed in this study.This historical source, in addition to clarifying the various objective aspects of architecture, landscape and gardening, can reveal the subjective-semantic aspects and the principles of aesthetics of that time. This paper finallyattempts to draw overall structure of the garden as a map and sketch sto form the basis for further studies and future development plans.

Statement of Problem: Architecture can be defined as the art and practice of providing a balance between inside and outside spaces. It is thus possible to explore the traditional architecture as a treasure of knowledge and experience of the predecessors from a new perspective. It is assumed that the symbiosis of the inside and outside has changed in the Isfahan-i architecture as a heritage of the Safavid period, a major period of Iranian architecture.Objective: The present paper mainly aimed at the spatial and physical analysis of special buildings of the Naqsh-e-Jahan Square in terms of status, factors, the inside-outside symbiosis, and the role of each in the development of urban identity and the architecture of this historic complex.Methodology: This is a descriptive-analytical study through libraryand field research with the aim of developing the architectural thinking and design.Conclusion: The results of the study indicate that the relative preference for urban spaces and landscape over the particular characteristic of each building. Nevertheless, there is a balance between inside and outside with the relative importance of inside in each building. The increasing importance of urbanism, urban development, and focus on urban complexes instead of single buildings as the product of an architect’s creativity during the Safavid period are all examples of the special attention to the “outside”, which can be attributed to the display of government power and competition in the Islamic world. The integration of the bazaar with public buildings in a new form and the combination of columned porches and monuments in large dimensions and multi stories are both among the innovations of Isfahan-i style, resulting from a change in the attitude towards the inside-outside relationship in architecture.In addition, the significant role of entrance in terms of both meaning and function in this period can be considered as an emphasis on the display of boundaries and hierarchy in architecture. The most important element of the interactive region and transition area where the inside and outside are intertwined.

Postmodernism attitude towards? all of the arts varies from one art filed another both in terms of motivation and temporal framework. The issue has been largely attended to and investigated in various areas of art by the contemporary critics. Douglas Crimp is amongst the contemporary art critics whohave investigated visual arts, especially the effect of photography on the paintings as well as the functions of museums in modernism era and their whereabouts in the postmodernism era based on Walter Benjamin’s discussions onthe process of mass reproduction and also the archeological notions proposed by Michel Foucault. Thus, the present study aimed to analyze their ideas about the postmodernism art events in order to elucidate the end of painting theory and the effects of photography and the mass reproduction process on the failure of the originality and the dissolution of the sacred Aura of the artworks which will finally lead to such a crisis as the isolation of the museums in the contemporary era. Based on the findings of present study, Crimp’s opinion has been based on this important principle stating that art postmodernism is radically segregated from artistic modernism and the painting dominance era; the main questions of the present study is that, from Douglas Crimp’s perspective, what approach, in the contemporary era, has made the art world face the annihilation and death of painting and how it has influenced the function of the museums in the present era? Finally, the result obtained based thereon is that, considering his notions, the minimalist art, pop art, photography followed by mass reproduction and propagation as well as the shift towards audienceorientation are the most important reasons giving rise to the widening of the distance between painting and the postmodern world. As caused by all these happenings, the painting gradually lost its originality and this was the major process that eventually led to such a crisis as the seclusion of museums as places where the original works are kept. The present study employs a descriptive-analytical research method. Data the library research was used to collect the data.

Statement of the Problem: Our past architecture has always fulfilled needs of its users, displaying it in the form of architectural elements with various features. It seems that today, in order to solve many problems, these elements can be used and recreated. It should be said that in order to recreate these elements, we need to have a precise recognition of the role and function of these elements. In previous studies, these roles were not explicitly and accurately described in relation to an element of the vernacular architecture of Bushehr, known as Senasir. Objectives: Unlike previous studies, in this research, we try to investigate different dimensions of Senasir in order to find the roots and the reasons for the existence of Senasir to recover it, because the restoration of this kind of elements is necessary to solve many of our problems today, such as excessive energy consumption in order to reduce and adjust the environmental conditions in a warm and humid climate and the problems of equalization in different regions of our country. Methodology: For this purpose, the method of library research, field research and stating rational reasons (reciprocatingintuitive arguments) are used to identify the main role of Senasir and express the contradictions in previous researches and implicit functions of Senasir.Conclusion: In this regard, it should be mentioned that in most of the previous studies, Senasir has been defined as a space for the use of windflaw and space for living, but in this research, hypotheses are expressed and proved by rational reasoning indicating that it has not been a place or location to spend time or to do something in which the comfort conditions are of importance, but it has been an element providing the use of maximum airflow in the 6-door and 5-door rooms as well as safety and preservation of privacy. In this research, it has been argued that there are other benefits, such as shading on the wall and the central courtyard, or the interface between the upper floor spaces, etcetc.,, but none of them was the main reason for the creation of Senasir, but there were benefits for the inhabitants of the house along with the main performance of Senasir Senasir,, as stated above.

From the mid-Safavid era and with the rise of commercial and cultural exchanges between Iran and West, a major transition in mode of displaying “space” in Persian Ppainting had appeared. Therefore, Persian painters in various methods applied the “Linear Perspective” in Persian painting at that time. The historical origins of this technique stemmed from the European Renaissance. Some theorists have considered economic context as the reason for scientific and cultural Revolution of Renaissance. In this respect, the appearance of this technique in painting is also dependent on the initial stages of development of the capitalistic mode of production. The purpose of this paper is to study the application of this technique in the late Safavid painting in relation to the economic context of that period. The findings of this study show that linear perspective have been applied incompletely and regionally in late Safavid paintings and Iranian painters did not conduct a serious determination for accurate and comprehensive application of this technique in their works. Simultaneously, in the economical context, following the centralization of power by Safavid (especially from the reign of Shah Abbas) and the monopolizing of the “economy”, the conditions for the emergence of free class of laborers and independent merchants as requirements of production relations of capitalism were not provided. Hence, the materialistic culture based on this method of production was not developed. Despite the familiarity and the needs of Safavids to the technological goods of Modern West, at that time, “the mode of production” of these goods couldn’t progress in economy of Iran. It shows that the application of linear perspective technique in Persian painting is structurally analogous to the mode of entering and use of these technological goods. Similarly, perspective in Persian painting couldn’t be customized. If perspective in Renaissance painting is a symbol of the capitalism economy at certain stages of its growth, this technique in Persian painting is only a “representation” of that symbol; a symbol that will not refer to its economic context.