BAGH-E NAZAR
Year:2011 | Volume:8 | Issue:16|Papers Count:8

The study of structural reforms in cities like Medina after the advent of Islam is of prime significance for those who follow Islamic ideals in modern urbanization. The following research takes a historical look at evidence of urban development immediately after the introduction of Islam. The authors present the method used by Prophet Mohammad (PBUH) to select proper locations for building mosques as a model. The research's findings show that before Islam, the city of Medina was made up of scattered neighbourhoods divided by gardens. The city's tribal structure was reinforced as a result of the scattered water resources and vegetation. Structural changes, coinciding with cultural developments, brought unity out of disparity but without ruling out the presence of different tribes. What led to this balance between tribal tendencies and the sense of unity were mosques, particularly their types and locations. Local and Jaame' (i.e. grand) mosques became part of a coordinated network prioritizing unity while granting authenticity to different tribes.Prophet Mohammad (PBUH) relied on divine guidance to choose his place of residence and the location of Masjid al-Nabi (i.e. the Mosque of the Prophet). He announced the mosque would be built at the very place that his camel stops. This specific location was at the end of one of the local bazaar's many tributaries and perfectly accessible from all corners of the city. Thus, various tribal centres were gradually formed around the mosque, which became the centre of the sprawling city. Local mosques became like centres of different neighbourhoods. Masjid al-Nabi did not have a significant structural role in the city but was of great functional importance. Various social events that were considered below the holy spirit of the mosque would take place in a square just opposite the mosque building.

Studies in urban design and quality of place of residence include a lot of discussions about the importance of physical-spatial and semantic elements as well as social structures etc. to convey a sense of place. However, less emphasis is placed on the concept of group belonging to place of residence as a parameter that gives a location a specific meaning.This article outlines three types of relationships between a society and the place it belongs to: spiritual-mental, moral-ideological and biographical. It then strives to determine, measure, and compare these relationships in one of the traditional neighborhoods of the city of Hamedan. The authors have conducted field studies and interviews with residents of this neighborhood to evaluate the dimensions and influences of group belonging to place of residence.This research shows group belonging to a traditional neighborhood are strong and have strongly influenced the mentality of residents regarding the identity of the place they live in.The three types of spiritual-mental, moral and biographical relationships between society and place of residence are interconnected and play an indivisible role in creating a sense of belonging.

Numerous studies have been conducted over the past four decades about the effects of globalization on cities and the way cities have been responding to pressures imposed upon them by globalization. Over the decades, cities have developed a complex relationship with globalization in light of their social and economic significance. Further research into this relationship has led to the introduction of a new concept in urban studies known as the global city theory.This theory embodies discussions on the effects of globalization on cities and the way cities have been responding to the changes brought about by this phenomenon. It also includes a series of guidelines to help cities become part of the globalization process.In addition, the global city theory studies the effects of globalization on the new identity of contemporary cities, outlines a new set of criteria to distinguish global cities, defines the characteristics of such cities, develops a ranking system for them and studies the relationship between cities and global city networks.

Scientific and technological developments particularly after the Industrial Revolution have led to the creation of numerous industrial buildings in city suburbs.Although industrial plants are developed to meet the various needs of humankind, they do entail a series of negative effects and though built in suburban areas they strongly influence urban expansion.This paper studies the physical impacts of industrial buildings on urban development in Iran. It requires a look into several fields of study and employs a composite research method to proceed. In a deskwork process, the authors first present a summarized history of urban developments in the face of growing industrial advances. They then study the urban expansion of Tehran with the industrial plants developing around it through a comparative method employing maps and documents.The Tehran Refinery and the Baghershahr residential district are chosen as components of a case study. The authors use questionnaires, conduct interviews and take note of their observations to evaluate the impact of industrial buildings on urban expansion. Finally, an analytical strategy is employed to conclude that industrial plants, which are mainly built in city suburbs as new urban indicators, inevitably affect urban development and people’s lives. The paper ends with a series of proposals for architects and urban developers to reduce the destructive impacts of industrial buildings on urban development.

This essay has attempted to apply the main concepts of Jacques Derrida’s deconstruction theory to the Persian painting "The Drawing out of Yusof from the Well".A methodological frame comprises signification, reversing binary oppositions, aporia, parergon, narrative, intertextuality and decenterism. In a deconstructive analysis, binary oppositions like men and women, day and night, cold and warm colors are connected without superiority. Spectators face questions which have unlimited answers and entangle them in aporia. Considering a parergon will help the spectator come up with another reading or another meaning of a certain text.There is also no center. The center has lost its function. The artist has put the center, which is related to the title, in the corner. The work is not autonomous. It has a relationship with other texts like the story of Yusof in the Qura’n and ancient myths. The signs prevalent in the sketch can also be traced back to other texts.Thus, we can find a deconstructive logic behind this work. There is no final meaning and signification and the artist’s ideas in forming the painting follow Derrida’s concepts and theories.

Since the late 1960s, a pioneering design approach gradually emerged that is referred to now as the postmodern approach. Design, architecture and in general terms, post-modern art (similar to other cultural forms of post-modernism) have so many complexities that it is actually quite difficult to define a set criteria for recognition, classification and differentiation of post-modern from modern art.This paper, using semiotic theories as analytical tools, attempts to define various concepts and indicators which it then uses to study famous works designed by well-known designers and architects with a post-modern approach. The findings suggest that the signs in post-modern works have gone through major changes compared to their modern counterparts. The best example is the reemployment of iconic signs in post-modern designs.Post-modern works have enormous connotations and their process of semiosis and signification are endless. Moreover, the post-modern designer employs syntagmatic and paradigmatic approaches, allowing viewers to interact with the artwork.Finally, post-modern designs address sensual perceptions. In fact, the greatest function of postmodern designs in terms of communication is their ability to relate emotionally with viewers.

Designers are always in search of an approach to help them deal with the question of aesthetics in product design and development and thus meet the demands of their clients. As one experienced designer, Heufler admits, theory and practice are always clashing as designers cannot freely express their aesthetic feelings without considering the demands of the clients and this, he says, has always been a burden for them. Christopher Alexander, who is known as one of the founders of design methodology, believes problems faced by designers are often so complex that they cannot be resolved through a merely emotional approach or artistic creativity. He suggests that such problems necessitate a proper market analysis. This approach is known as "form affected by market" and is one of the most familiar approaches for designers. Its main objective is to make specific clients interested enough in a product to convince them to buy it.Unfortunately, a lot of people mistakenly conclude that designers are trying to come up with one universal approach to face the problems of product design. However, the fact is different problems warrant different approaches. The first question that should be raised at the beginning of all industrial design projects is which approach works better aesthetically.If we accept the fact that there are different approaches to address the issue of aesthetics and consider aestheticism as a form of language while identifying customer demands by analyzing the market, the next important question would be, is the market-based approach the only approach that designers can adopt? Are there any alternative practical approaches.This article studies the objectives of a number of designers before presenting a general perspective. It examines the pros and cons of various approaches to help the reader make the best decision. The main question is "Can designers adopt an approach other than the market-driven one? " or rather "Has there been any alternative approaches?"