HONAR-HA-YE-ZIBA
Year:2004 | Volume:- | Issue:18|Papers Count:13

Aesthetic experience is a rich and pleasing one. The factors that involve in this expe rience constitute the base of discourse between two schools of thought in contemporary aesthetics Integrationists, one of these two, believe that factors such as scientific knowledge and cultural conditions are combined with sensational qualities and make the aesthetic experience. The philosophers of the second school disagree with the integrationist position by emphasizing that the perception of beauty is dependant solely on the sensations of the observer (how it looks, sounds, or feels) and not knowing the history or cultural frame work of a scene or object. Perhaps the origins of these debates are in the form/content distinctions that formalism claims. This article, tries to describe the aesthetic experience and its difference with the cognitive experience in the light of some examples. At the end it would suggest that form/content conflict would lead to incoherence in aesthetic object and so it is rejected.

Imposing an inappropriate circulation pattern or network on an organic residential urban fabric is a typical problem of urban plans in Iran, which have been supposed as detailed plans. The interventions applied to these areas have not been of a planned origin but a civil engineering vision. The unfortunate consequences of such approach have been more disastrous in organic areas and old fabrics. According to the study accomplished in Imamzadeh Qassem (a northern quarter of Tehran),the conventional "detailed plan" is incapable to provide the area with a better quality of urban life and even increases the conflict points in the existing circulation and pedestrian network. In this study, the principle aim was to prove that these kind of conventional plans damage the valuable fabrics which have other potentia Is rather than becoming simple passages for cars and daily traffic Transforming such areas to calm neighborhoods by using the contemporary approach es was the base of a proposal for the studied zone. In this proposed "plan", making a walkspace, reducing the car access, creating new neighborhood centers, providing enough peripheral parking spaces and establishing an efficient public transportation system with a local scale were the main axes.

This Article is the result of one-year experience in basics courses of architectural education. The theory that the experience rises from it, names edification, learning, and wisdom as three necessary steps for architectural education. According to this theory, education should focus on refinery and training the minds and talents of trainees as the first steps of learning and insight. Explaining the theoretical basis of the experience is the first part of the article, then it discusses about the quality of passing from usual high school education to an appropriate architectural education. It requires refining the students minds from wrong imaginations of pre-university education, which is without any enthusiasm. Then the article discusses about the methods of education that shows the interaction. between teacher, students, and program that always reviews and critiques itself. The body of the article contains weekly programs and some of the students works. Reviewed and critique of this one year experience is the last part of article that is written by students and can shows the quality of reaching the goals.

This study has concentrated on the role of architecture in revealing meanings and concepts using an experimental approach. Due to the importance of mosque architecture in urban social life, as well as the issues on requirement of compatibility of form and function in mosque architecture, the exterior mosque architecture has become the issue of study. 14 cases, 7 traditional and 7 innovative are chosen for the study. Four respondent groups are chosen to measure the meanings and concepts revealed through architecture. The Semantic differential test is the basis for measurement of meanings. Personal construct psychology is used for development of the bipolar adjectives needed for the semantic differential test.The early results of this research show that the two architectural types are well distinguishable by all the respondent groups. Also in all the cases, except for the youth respondents, the traditional type is preferred for mosque architecture. Due to the length of the present article, the recognized dimensions of meanings and their relation with the environmental preferences as well as the cases representing and revealing meanings are presented in another article.

The influence of philosophy on architecture is one of the characteristics of contempo rary period, which has occurred after the destruction of architecture comprehensiveness. The relation between these two disciplines has many opponents, but in this article we just concentrated on the quality of relation between Derridas views and deconstruction in architecture. Ferdinand de Sa us sure and Claud Levi-Strauss reflections - two leaders of structuralism - have been reviewed as the first step. After explaining the formation of deconstruction in west societies, its key words such as the metaphysics of presence, logocentrism, language, writing, gramatology, undecidability, and textuality have been argued as well as the methods that is used by Derrida in order to reach his philosophy. It can help us to find out the deep meaning of deconstruction. The next part discussed about the beginning of deconstruction as a style in architecture, so it concentrate on the theoretical bases of construc tivism, dadaism, destyle, and expressionism is discussed. Searching the principles of this new movement through the deconstructivists views is a goal that is tried to reach. At last, the relation between Derridas reflections and architecture after collaboration with architects such as Eisenman and Tschumi is scrutinized.

It is generally that the Mexican Muralism had its roots in the 1910 revolution. The Mexican Muralists produced the greatest public revolutionary art of twentieth century, and their influence throughout Latin America has been far reaching and continuous. The muralists were the most vigorous and creative of cultural vanguard of revolutionary Mexico, with a powerful sense of the social value of their art. The mural movement was increasingly concentrated in the hands of "Los Tres Grandes":Rivera, Orozco and Siqueiros. The muralists demanded, at least in principle, to eradication of bourgeoisie art (easel painting), and pointed to the native Indian tradition as their model for the socialist ideal of an open, public art:" a fighting educative art for all". These artists utilized the elements of European classic art, modern twentieth century art and combined to their own native art. They have created a magnificent and effective art in the open-air mural painting arena. This paper tries to investigate the origin of mural painting in Mexico and also works of Orozco, Rivera, and Siqueiros.

In the turbulence world, the entity of man is more empty than before, and he feels empti ness, fright and stress from inside. He has separated from his originality, and his God and environment; and he has to fill this spiritual emptiness, looking for physical and material of world. And" Chan" is a path that lead the man to freedom and release from captivities, making him united with himself as well as the whole universe, leading him towards inner peace and absolute truth. "Ch an" is a spiritual path and the Chan monks thoughts and ideas in China left an impressing effect on the entire arts of Far East, specially painting, calligraphy, drama, martial art, and garden arrangement; thus, these arts changed into tools for thinking, meditation and guidance of those who face them, and lead them to the spiritual insight. In this article, the Chans spiritual path, which is a combination of Buddhism and Daoism would be studied. The great influence of this path was on Chinese painters in south sung court (1127-1279A.C.). The author has tried to study the influence of this path on Works of painters in this era.

The physical spaces of Greek plays were among the most important issues that impacted on the quality of the performances. In spite of some differences, they all cross each other in some main characters. One of the main characters of those spaces was this fact that they all were constructed near to a sacred place. All the features of those "theatres" could be explained based of religious worldview of the Greeks and their relationship with the gods. During the time, when the Greeks began to change their views of the gods and religion, the architectural features of the theatres became different from the past. The new Greek philosophy based on mans power instead of gods authority presented new physical spaces where there was no sign of religious elements. These new theatres served only as spaces for theatrical purposes.

Iranian cinema, has experienced basic and visible changes concerning attitudes toward women In several past decade. These changes are so great that show a developing feminist view is prevailing in the scene. These changes can be observed in situations and roles of women in Iranian cinema before and after Islamic revolution. I try in this research to analysis the quality of representation of women in Iranian films made from 1340 to 1370. My target in the research is evaluation of process of changes concerning attitudes towards women. The theoretical framework of essay is gender oppression theory, the concepts and hypothetical approach of this theory are analyzed in Iranian cinema. The research methods in study are qualitative content analysis as chief method and documentary method as complementary method. For example; some indexical Iranian films are analyzed through content analysis method and documentary method that has been used for general description of gender relationship and situation of women in Iranian cinema for the past four decades The main finding of the research is that prevailing attitudes toward women discernible in Iranian movies have changed from a patriarchal to a more feminist view.

Colors have an important influence on our ways of life and spiritual moods. They also have a symbolic significance in the rituals of nations. Some colors, such as the color of red, have different meanings in different societies but others like the color of green signify a more or less similar meaning. In literature also colors convey various feelings and messages. In Maupassants story, the color of white denotes fear and horror. In Stendhals story the colors of red and black bespeaks of the clergy and the army. In Baudelaires poetry one can observe a soft blend of color, fragrance and sound. The color of green in lonescos Rhinoceros or the "gray-golden" color in Giraudouxs play are symbolic colors. In theater also color plays a significant role in stage decoration, lighting, costume and make up. It conveys a specific message and influences the audience. From the psychological perspective, the choice of colors reveal the personality of people. The color of green bespeaks of constancy and perseverance.