BAGH-E NAZAR
Year:2019 | Volume:16 | Issue:77 |Papers Count:6

Problem statement: Cities are the places to promote creativity and development. Cultural districts of cities are the manifestation of the diverse dimensions of people who have recorded their cultural identity. Activities in public spaces of urban quarters play an important role in the growth of collective creativity. To support these activities, much attention has been paid to the creative class in the cities that has led to the emergence of the creative city movement. The core of the creative city is based on beliefs such as culture, art, planning, and cultural industries. Research purpose: The main objective of this study is to identify the effective components in promoting community, culture through answering the main research questions of ‘ what is the principle of cultural regeneration in a creative city? And which criteria are important in the development of a cultural and creative quarter? ’ By studying the raised theories in the field of cultural and creative industries with a culture-led regeneration approach, the paper tries to identify effective measures in promoting urban areas in order to develop a cultural and creative quarter. Research method: based on a qualitative strategy and documentary and library studies, related theories to the field of study were restudied; and through a rational argumentative strategy, the main criteria for the regeneration of a cultural and creative quarter were chosen and the graph of content relationship of culture-led regeneration and creativity was drawn up. Conclusion: according to the conducted analyses, the criteria of culture-led regeneration in cultural districts and creative quarters, are specified and presented in the format of an analytical research framework. The results indicate that despite unexpected disagreements and outcomes, strategies such as the prosperity of the cultural economy, increase of facilities and the promotion of creative tourism, will lead to the social vitality of public spaces and as a consequence, citizens will participate in empowering them as the creative class.

Problem Statement: Qaleh Iraj is one of the Sasanian archaeological sites in Tehran plain. The site is enclosed by arectangular defensive wall (rampart), 1470×1300m in dimension; thus, the surface area of the site would be aound 190ha. So far, field investigations have yielded no extensive architectural remains in this vast area enclosed by the wall. For this reason, the main objective of the present paperwould be to locate the architectural structures related to the living spaces of the inhabitants. In addition, the second query to answer would be the spatial organization of the architectural structures recovered within the Qaleh Iraj rampart. To answer the principal question, it seems, due to the lack of architectural remains in the vast are enclosed by the wall and regarding the fact that such remains are abundant within the defensive wall itself, the inhabitants were probably living within the structures (numerous rooms) built inside the huge defensive wall itself and not in the whole site. To answer the second question about the spatial organization, it seems, according to the field studies, the architectural spaces were systematically builtwithin the entire defensive wall of Qaleh Iraj, including stunning 828 similar rooms, one allembracing corridor, 148 watch-towers, and some exterior arches. Aims: This research was conducted in order to search for the living spaces of the inhabitants of Qaleh Iraj. Due to the fact that they were absent in the whole 190ha area enclosed by the wall, the huge defensive wall was chosen for archaeological excavations. After the discovery of abundant architectural remains within the defensive wall itself, these remains were examined thoroughly. Finally, some hypotheses were offered for explaining the spatial organization of the architectural structures. Methodology: In this research, descriptive-analytical method was used to answer the questions of the study. In the first step, the architectural remains that discovered from the field investigationsweredescribed and then, by putting the jigsaw puzzle pieces together as a whole, archaeological examinationsweredonein order to develop hypotheses on thespatial organization of the defensive wall elements. Results: The presence ofarchitectural remains within the defensive wall or rampart of Qaleh Iraj was unknown previously. Field excavations indicated that the defensive wall itself contained numerous rooms and a corridor and these were built for the sake of living of the inhabitants. As a result of the mentioned archaeological discoveries in Qaleh Iraj, it is now clear that the architectural structures such as rooms were built all over the defensive wall, executed in a similar fashion. The remains within the defensive wall include rooms, a corridor, watch-towers, and exterior arches. In addition to what mentioned, it seems the architectural system was changed in the later phases possibly due to security reasons.

Problem statement: The three factors of culture, tradition, and religious beliefs have been amongst the most effective factors in ancient civilizations including Iran and China. In the mentioned civilizations, these factors have been embodied in various forms and had special importance in defining the spatial identity of various spaces including the gardens. In this regard, this comparative study is aimed to investigate how the ritual and cultural concepts affect the formation of the symbols and physical spaces of the gardens of these two civilizations is the main objective of this research. Objectives: The main objective of this paper is the identification of the symbols used in the physical structure of Persian gardens (Islamic era) and Chinese gardens (Tao and Buddha) and their relationships with the ritual and cultural beliefs of these two civilizations. Research Methodology: This is a qualitative research and also interpretative-historical method in data collection and logical reasoning method in data analysis. This study has been conducted with a layered approach and focus on the effect of the symbols derived from religious beliefs. In this way, at first, the symbols, their types and appearance and exhibition manners in Persian gardening and then in Chinese gardening have been investigated and then due to the relationship between the utilized symbols and religious beliefs of the civilization and their creators, a comparative study of symbols has been carried out in Persian and Chinese gardens. Conclusion: The results of this research show that the Persian and Chinese gardens from the beginning of their formation have faced various methods according to the existing differences in the attitude to nature, ritual and cultural roots and climate factors and their effect on the appearance of general and specific symbols. It seems that the Chinese gardening has used the symbols s as a reminder of the powers and hidden forces in the nature and universe with the approach of nature sanctification; while, in the Persian gardening, symbols are used with specific (holy) wisdom vision to remind paradise and God’ s power in the creation of nature and the world.

Problem Statement: The imitation or inspiration from the ancient artworks has a long history in the making of new and innovative works. Similarly, the art of Iranian jewelry as one of Iran’ s richest arts is no exception. In the present research pomogrenate motif has been chosen, due to the importance of pomegranate motifs in Iranian culture, the repetition of this motif in the context of ancient artifacts of different periods, the repetition and rejoinder of this motif in recent decades in contemporary body of numerous kinds of art. Purpose: The aim of this article is to study the relationship between represented pomegranate forms in contemporary jewels and the historical texts about ancient jewelry inspired by pomegranate motif. The present paper seeks to answer the question of how the connection of contemporary jewelry with its ancient text is explained; and, in the process of adapting these works, what changes are made in the process of adopting these works as ancient jewelry inspired from the motif, pomegranate. Reserarch hypothesis: This research is based on a descriptive and adaptive approach, which has been carried out with the help of the method of Trans textuality and the Hyper textuality approach. Conclusion: Contemporary artists has proceeded by preserving the form of pomegranate, disrupting symmetry, using negative and positive spaces, combining various materials with jewelry to represent the shape of pomegranate in contemporary jewelry. The relationship between previous and future texts in jewelry in different spreads of incorporation, assertion and derivation has taken place in two categories of change and imitation.

Problem statement: Iranian contemporary architecture has consistently been subject to the criticism and analysis of thinkers and architects alike due to its numerous problems. One of these problems, unanimously expressed by influential figures, is the lack of identity. Dealing with the concept of “ self” cannot sufficiently resolve current issues. “ I” alone, may not act on its own, and requires the presence of “ the other” in order to add meaning to action. Neglecting the concept of “ the other” in the contemporary architecture has brought about a state of disintegration whereby the architecture seems to have lost image of itself as a manifold issue. Aim and Research method: The present study seeks to examine the concept of “ the other” in architecture and attempts to respond to the question “ In architects’ and theorizers’ opinions, what “ the others” are imagined and envisaged by Iranian contemporary architecture and via interaction with what forces are the images shaped? ” . The nature of the current study is qualitative, and, in terms of research purpose, it is interpretive. The methodology includes open coding and axial coding, so as to address the way we deal with “ the other” and to generate new insight. Conclusion: The findings demonstrate that the views of the majority of Iranian architects and theorizers about “ the other” can be classified into six categories “ namely past ideas” , “ people” , “ market” , “ government” , “ the West” , “ context” .

Statement of the problem: Demographic and climate changes are the main challenges in the present century. Since the 1970’ s, the sustainable development and complete inclusive design has been raised as an answer to these challenges. However, the inefficiency of the architectural spaces is still a controversial issue. Although the vernacular architecture has been responsive to the public needs, at the present era, this architecture has been neglected due to not keeping up with the developments of time. Research hypothesis and questions: It seems that by analyzing the universal design and sustainable development key criteria as well as the vernacular architecture resuscitation, we can develop the effective patterns of architecture that can contribute to the universality of spaces and their sustainability. Now, the critical question is arisen that according to the needs of vernacular architecture, which one of the criteria of the inclusive design has the ability to be applied in the sustainable vernacular architecture. Objectives: This is an attempt to identify the convergence or divergence level of the vernacular architecture components and universal design and tries to develop an interactive pattern that is in accordance with the universal design criteria and current ecological needs can be applied in the sustainable vernacular architecture. The research methodology of this paper is a descriptive-analytical and is based on the content analysis technique using qualitative-quantitative mixed approach. That is to say, at first, the architectural interaction pattern in compliance with the criteria of vernacular architecture, complete inclusive design, and sustainable development were developed qualitatively and then the relationships of the key criteria in this pattern and the share of each in the interactive system was determined. In this study, the Safavid fence in the district 12 of Tehran was selected as of the research and simultaneously, the qualitative and quantitative data were gathered through a questionnaire. The interactive model we developed based on the qualitative data included six factors as resilience, contextualize, universal usage, comfort, law, and management. Analysis of the quantitative data showed that resilience had the biggest share in the interactive system.