BAGH-E NAZAR
Year:2017 | Volume:14 | Issue:50|Papers Count:8

Cultural landscape represents different meanings such as the interaction between people and the environment, evolution through time, cultural tangible and intangible values and vernacular traditions. The term “culture” represents people’s relationship with their inhabited environment to gain a livelihood and presence of tangible or intangible values. These values are the common notion between cultural landscapes and cultural properties. This research aims to study one of the registered sites of Iran’s cultural heritage, the Qazvin’s Traditional Gardens with the cultural landscape approach; The research hypothesis is to discover common notions between cultural landscape and the Gardens such as evidences of mutual relationship between the Qazvinians and the natural environment of the region and management of water resources throughout history which will be investigated by referring to national and international documents. For example, the inhabitants as the gardeners have used the annual flood of seasonal rivers and have implemented a special irrigation system for the Gardens named floating agriculture in the submerged area once a year.The Garden trees such as pistachio, almond, apricot and grape are resistant to harsh weather and have produced precious fruits throughout history. Two major characteristics of the Gardens, that means historic continuity and vernacular characteristics can categorize them under “continuing landscape” or “vernacular historic landscape” according to the upper level classifications. The major contribution of the research is an analysis of the Garden’s features or elements according to the documents of WHC or NPS.These multifaceted features are studied specifically in three categories of natural resources, plantation, and ecological systems; built environment consisting of spatial organization, circulation paths, irrigation systems and objects and structures; and human factors and management systems of traditional gardening. These wisely interconnected features are evidences of mutual interaction between people and the environment. As a paper in the field of architecture the research has studied physical elements such as land patterns, spatial organization, structures, site furnishings and objects in more detail. Conclusively, the research shows an integrated interrelated relationship between elements of the cultural landscape of Qazvin’s Traditional Gardens. The research emphasizes on a comprehensive approach toward preservation of different interconnected built and natural elements of the Gardens and human factors to ensure a sustainable relationship between people, environment and economy of Qazvin’s city over the centuries. This work is an applied research with descriptive and analytic method of information gathering and retrieval. Its data type is qualitative.

Graphic design tries to convey the message to the viewers through an effective and innovative process. It includes a wide variety of branches such as book illustration, trademark design, motion pictures, packaging, web site design, etc, all of which try to meet three basic functions: giving information or instruction, making introduced and identity presentation and advertisement or promotion. Each distinct function communicates with the viewer through a different way. Like other forms of visual media, graphic design conveys the messages through three different ways: representational (or simulation of nature), abstract and symbolic (or encoding).Different messages are generally expressed by different modes of graphic design approaches. The present study focused on representation approach in graphic design and on its justification usage. To meet this end, this study first addressed the content of representational approach, its different kinds and the ways it worked in graphically designed works for graphic design students and all those interested in this field. Meanwhile, different ways of communication as well as how they can be realized graphically were addressed. Since creativity always plays a major role in graphic design and seemingly representational expression conflicts with creativity, the present study aimed to make clear the relationship between creativity and representational expression. The main questions posed here include 1- In what ways representation is realized in graphic design? 2- Basically what intention is met by graphic representation.3- How is a creative graphic representation possible? The data were collected based on library sources and on certain graphic designs. The results of this applied research were analyzed descriptively. The results indicated that in all three functions of graphic design mentioned earlier, certain objectives are met including believability, introducing, straightforward communication, attracting attention, establishing credibility, guiding direction, being convinced.

One of the most important issues of our age is to find a way to keep up with the uncontrollable pace of the time. The works of avant-garde architecture which are in turn the product of rapid development of contexts, needs and spatial-temporal circumstances of each era can be considered as a turning point in the historical evolution of architecture and style transfer. The progress of contemporary art and architecture history is greatly indebted to the avant-gardism. Thus, it is of utmost importance to criticize and evaluate these works compared to the ones following society’s conventional mainstream. One can say that in many cases, the criticism and evaluation of these works has been faced with a lot of disputes and challenges. So, we begin the study with the following questions: “what are the requirements for a correct criticism of avant-garde architecture works?” and “how do the two elements of time and place affect the criticism of avant-garde works?” The present study is an applied research in nature performed using interpretive-analytical methods which tries to analyze and explore how to criticize and evaluate the avant-garde architecture works based on theories of “language games”, “cultural semiotics”, “post-structuralist semiotics” and “critique as a behavior” which make up our theoretical framework. Then, as an historical evidence, examples of avantgarde works critiques throughout the history of architecture will be addressed which could confirm that the answers given to the questions raised are correct.The findings suggest that criticism and evaluation of avant-garde works is characterized by qualities including “relativity”, being “time-bound” or even “place-bound”, that is, the outcomes of reviewing such works are highly dependent on time and place. In order to offer an impartial criticism, the proportionality between avant-garde architecture work and how to read it seem desirable which should be taken into account by architecture critics. In the end, we came to the conclusion that if the purpose of architectural criticism is to make changes and pave the way for a move forward in the history of architecture, predetermined criteria won’t be an efficient and fair choice to assess the avant-garde works. When building avant-garde works, therefore, outcomes obtained from criticism of the project based on approaches with definite rules and standards such as positivistic and strcturalist critique cannot be accepted.

Historical and beneficial buildings in Iran are honorable parts of Iranian architecture and also an expressive language of the rich culture dominated in Iran. One kind of these buildings are traditional baths. Baths are amongst the most beautiful, public, technical and various environments. Unfortunately, however, its social and cultural aspects have been more considered in books and articles than its hygiene-Therapy ones, and the relationship between the body of the building and human has been focused less; hence the aim of this study referring to Iranian traditional medicine texts is to discuss the relationship between elements and organs of the bath and human’s health and the formation of the bath due to four elements (water, wind, earth and fire), temperaments and humors (melancholia, bile, phlegm and blood). The main purpose of the study is to analyze the influence of shape, structure and elements of traditional baths from human and the influential designing factors of these kinds of baths on human. On the base of the theory discussed in this article, designing baths has been on the foundation of traditional medicine, and the elements and organs of the bath used to be designed to influence on human’s temperament and soul in order to keep his health and cure him. The research, with this theory that the hierarchy system in bath follows specific medical instructions, goes on to study this assumption expresses that architecture in traditional baths has been formed regarding to two medical branches, physical and spiritual, that beside matching with the four elements and temperaments, has been designed to make balance between human’s humor and spirit, and also it shows the relationship between architects and physicians.This study aims to examine the theory on the basis of descriptive and analytical method, and to explain the quality of architecture by considering the human hygiene and certifying that architecture is human’s home and his existence survival. The result of the study focuses on this point that there is a mutual relationship between the shape, structure and elements of human and those of traditional baths that the purpose of the relationship is to create a suitable environment with human nature for your body, soul and psyche and it can be observed in studying the architecture of traditional baths and referring to the mentioned points in Iranian traditional medicine texts.

Today, the plurality of different ways through which ideas in divine religions are expressed highlights an urgent need for a common language using the approach of ethnic unity. The analysis of these commonalities would be effective in coming to the point at which the spiritual-ethnic aspects of these religions converge.In so doing, art can serve as a common language. As the physical structure of religious buildings is mainly influenced by the type of ritual ceremonies in which they are held, it is more likely that the diversity of religions results in the diversity of the architecture of the holy buildings. However, the similar elements in the architecture of various religions can create a common and single language in the sacred arts to avoid the variety of ideas.This paper is an attempt to explore the common architectural features of religious buildings in Christianity (Armenians) and Islam during the Safavid era. Darwing upon Titus Burkharts’ theory, we attempt to explain how the structures of Armenian churches and Muslim mosques in the Safavid are different or similar? we scrutinize some samples of worship buildings. An extensive review of literature shows that essential differences in the mentioned religions have resulted in worship places with different interior designs. However, despite such differences, the building structures have been flexible architecture of these religions in shared geographic and historical domain influence each other. Similarly, apart from the influences, Armenians’ architecture in Isfahan is undeniably affected by the architecture of Safavid period and its subsequent periods. That might explain why churches with Iranian-Islamic structure reflect Christians-Armenians’ Architecture. The methods of data collection for this research are documentary and field-based. Data are analyzed in descriptively.

In the wake of anthropocentric thinking of Descartes, humans and the world surrounding them divided into two separate components. Highlighting the optical phase of contemporary environment, this separation becomes more obvious. Lots of phenomenologists like Martin Heidegger and Edmund Husserl tried to remove this separation, but he was Merleau-Ponti that considered the body as a primary factor in defining space and following Pontie’s theory, Steven Holl proposes the component of Parallax (the change in the arrangement of surface that defines space as a result of the change in the position of a viewer- is transformed when movement axes leave horizontal dimensions) and believes that spatial perception happens in case of breaking perspective, making oblique or vertical movements and finally adding time to space. The aim of this paper is the recognition of parallax and its design indicators in increasing the richness of environmental perception. In this way, the main question of research has been set: how is the relation between the parallax and bodily perception in the architecture of Steven Holl.This research has a qualitative approach and with the philosophical framework of phenomenology and the help of the research model abstracted from theoretical foundations in addition to analyzing the case studies like: Helsinki museum (Kiasma), an exploration of IN and Tesseract of time, tries to understand parallax and indicators of it in enhancing the perception of the environment.Oblique and vertical movements in space along with breaking the horizontal routine surfaces and creating the spatiality of perception with sequencing and combining various spatial views along with adding time are the indicators of the theory of parallax. The component of parallax is creating a way of bodily perception.