HONAR-HA-YE-ZIBA
Year:2007 | Volume:- | Issue:29|Papers Count:15

For four decades (from early 1960s), different factors have caused spread of development into the Tehran urban fringe and gradual formation of functional region. Some of those factors are: natural growth of population, immigration from villages and small cities to Tehran, approval of Tehran's master plan that resulted in land and property price increase in Tehran city, constraints on establishing new industries and factories inside and adjacent to core city, etc. Previous factors have contributed to the increased population and area of Tehran functional region. This kind of rapid growth, without legislative and administrative arrangements and mechanisms in order to control and guide the region's development, caused different challenges such as informal settlements, environmental deterioration, eradication of agricultural lands and gardens, air/water / soil pollution, urban sprawl, bad transport and so on. These problems have placed Tehran in a very low grade in recent cities international ranking concerning existing quality of life indicators. Moreover, there is another challenge, concerning procedural aspect of decision making process: political and governmental fragmentation, which is very crucial in Tehran case. Political and governmental fragmentation has intensified previous substantive challenges. For coping with this procedural challenge in Tehran Metropolitan Region Governance, a series of acts and regulations have been approved that forced authorities to make and implement policies and plans for controlling and guiding development of the whole region. But so far, appropriate institutions and arrangements required for implementing policies and plans have not been established. Lack of authority for governing the whole region intensifies these challenges. The present paper tries to describe and explain the procedural challenges (Political Fragmentation) for Tehran Metropolitan Region governance, and does not deal with the existing substantive challenges. In this paper, fragmentation and multiple authorities for Tehran Metropolitan Region governance are reviewed in three fields of effective institutions, government and Management territories, and supportive sources (plans, laws and finance). So the main focus of present paper is study and analysis of the crucial challenges of Tehran Metropolitan Region arrangements for governance (political and functional fragmentation) and also attempts that have carried out for coping with those challenges and realizing some integration and regionalism in spatial planning and management of Tehran Metropolitan Region (TMR), the attempts that for lack of supportive sources such as legislative, financial and political tools have not faced with great success. This paper shows that due to the special status of Tehran Metropolitan Region, re-consideration in its governance structure seems to be very necessary. Increasing political fragmentation due to increasing number of political and managerial territories, increasing complexity and diversity of decision-making patterns which stems from the lack of a uniform regional perspective and approach in its governance and management, and processes such as globalization and transition from governing to governance highlight the necessity of this re-structuring.

It is recognized, as an underpinning principle, that the process of land use planning and management implies adoption and application of appropriate methods o evaluate suitability and capability of land units for different uses. Once this is achieved, techniques are also required to provide time bounded analytical estimations of permissible quantities of the uses of land resources in the defined suitable land units. Through the past three decades, quantitative methods for carrying capacity analysis, along with other techniques for evaluation of land resources, have been developed and widely applied for variety of planning schemes including urban and regional planning, tourism development and biological conservation. The concept and applicability of carrying capacity has been subject to criticism in the sense that different research traditions and cultures have employed different meanings based on their perceptions of the concept and as such, varieties of techniques have been applied for the purpose. This means that as a prerequisite for any effort on carrying capacity analysis it would be necessary to strengthen the consensus among researchers, policy developers and stakeholders. Despite these limitations, carrying capacity remains a useful concept for environmental and resource management, especially in providing insights about the interaction of human activities with the environment. The later implies that carrying capacity analysis should be based on determination of levels of acceptable changes. In a recreational context, central to all definitions of carrying capacity is the idea of maintenance of the integrity of the resource base and the provision of high-quality recreation experience to users. This study aims to theoretically analyze and methodologically investigate the measures currently being applied for carrying capacity analysis within the framework of sustainable development. The assumption here is that the output of quantitative carrying capacity analysis is simply a measure, based on which decision makers are assumed to build their strategic management targets taking the community base value system and other management objectives into account. Through a literature review and a comparative analysis, this study intends to provide a theoretical basis for further investigations on the advanced methods of carrying capacity analysis in the future. The text is divided into two main parts. The first part addresses the theoretical concepts, components and methodological framework of quantitative carrying capacity analyses. Consequently, application of a quantitative method developed by IUCN in 1996 for tourism development combined with a weighting-scaling method is presented as a case study through the rest of the article. Results of the research revealed that application of the quantitative carrying capacity methods described in this article could provide a quantitative measure, based on which decision makers would be able to adopt appropriate adjustments to the strategies through the lifecycle of the development projects. It was also recognized that the carrying capacity concept could be served as a basis to monitor whether the levels of structural and functional integrity and health of the ecological systems are maintained and if the ecological processes continue to be in equilibrium in a long run. Also it was concluded that the carrying capacity could be taken as an adaptive, dynamic and evolving concept.

Over-concentration of population and activities, mainly in largest cities of the developing countries has attracted a large proportion of the development potentials of these countries into these cities. As a result, these cities have grown disproportionately larger than the second and the third cities of their countries. The phenomenon has been termed as "urban primacy" by Jefferson. Some developing countries, in order to combat the adverse effects of this phenomenon, have adopted certain policy measures. In Iran in order to ameliorate the increasing problems of I urbanization and the over-concentration of population and activities in Tehran, and to have a balanced countrywide regional development, industrial decentralization policies were devised and adopted. A battery of measures was also introduced to control development in the Tehran region. Several incentive and control measures were introduced to support the industrial decentralization program; chief among them was a decree, issued in 1967, banning the establishment of any large industrial establishment within 120- kilometer radius of Tehran City. In this paper the urban primacy in Iran during the four decades of 1956-1996 is examined. The main purpose of this paper is to find out if the adoption of decentralization policies during the said period has resulted in the reduction of over concentration of population and activities in Tehran and consequently in a reduction of its primacy level. After a brief introduction, the concept and theories of urban primacy is briefly reviewed. In the next section, methods of examining urban primacy has been explored and the following indicators, both for measuring urban concentration (primacy) and also de-concentration, have been selected to examine the urban primacy in Iran: Urban primacy index, two city primacy index, four city primacy index, Mehta's four city primacy index, Herfindahl concentration index, Moomaw and Alwosabi primacy index, Henderson de-concentration index, and entropy index. The results obtained from application of all six primacy indices indicate that the urban primacy was increased during the period 1956-1976, reaching to its peak in 1976, but has decreased from 1976-1996. Urban de-concentration indices also yield similar results and support the findings of the primacy indices. Although the indices indicate that urban primacy is decreasing since 1976 in the country, never the less urban primacy still exists in Iran, but its intensity has been reduced considerably. It was also found out that city size distribution in the country has been improved during the said period. The findings show that decentralization policies adopted since 1950s have been effective in reducing the urban primacy in Iran and has also contributed towards a better urban system in the country. The findings of the paper supports the prepositions made by Henderson that the governments can improve the city-size distribution of their countries by adopting certain decentralization policies.

According to the description of Paradise in the Holy Koran, Moslems Architects, with attention on this description, have built gardens in this mortal world with the intention of the goal that the Persian Gardens will be the appearance of eternal of futurity and Paradise gardens. Holy Koran has talked about paradise and futurity of mankind which reflected by Moslems architecture, historians and other Iranian skillful in arts in miniatures and historical documents. Therefore, People like to live long. This can be a good reason to build the gardens and holistical buildings as symbols of eternal life in futurity. And so, In Persian historical literature using the metaphors of heaven allegory concept to show the beastliness of their built garden has been known as a fact .The same perception has been reflected in the ideas of Iranian historians and foreign tourists. One of the most prominent forms in a Persian Garden is perhaps it's fourfold. Here, paradise lies in the midst of square after square being divided into smaller squares by channels of water. Water is carried north, south, east and west. Larger paradises give way to smaller paradises. Therefore, the elements of Persian garden (i.e. water, trees, etc.) have been designed and considered in regard with the holy concept of paradise. This subject can show the holy ideas of Iranian Architects in this perception, and indicates the efforts of Persian architects to study the allegory concept of paradise. This metaphor goal has been reviewed in this article in Librarian research method. There is a question here, how much the physical aspect and holistic value of paradise for Moslems architecture that reflects in design of Persian gardens? In spite of other reasons, mentioned about this inclination, it is possible that some particular aspect of this reason as the main one. In the event that, To get rid of severe hot and dry territories by being protected under the shade of trees in ancient Persian gardens might have been the main reason to respect trees and the purpose of some goal to build Iranian gardens. But loving special trees and gardens by Iranian and Muslims and the respect to them may have other reason, as well. The main question in this research which should be replied is that, in fact how much it is possible have been compared Iranian garden with metaphor concept of paradise and how much this idea takes a part in design process of Persian gardens? In the other word, this article with research in historical documents and evidences, show influence of the perception of paradise in building of Persian gardens. Furthermore, this paper intends to introduce and collect the promissory note in itinerary of foreign tourists that reflect the effort of Moslems architecture in this holy objective. Therefore, the article has reviewed the Allegory Concept of Persian Gardens to reflect the holy concept of Paradise in descriptive approach .As the result show, there is a relationship between Persian garden and allegory concept of Holy paradise with particular reflects in safavids period.

The Safavid period is the most magnificent periods in the Iranian architectural history which must studied more than this. Briefly powerful central government, security based on power, innovation and progress in structural technology and materials (based on the past experiences), urban extension based on economical expansion, Kings' interests in art and architecture (especially Shah Abbas); are the most important reasons of the architectural progress. And bat hhouses design and construction, progressed like the other kinds of architecture. Also f the Islam's emphasis on cleanliness and water respect, the principles of the Shiee religious jurisprudence, and specially the genius of the architects; made the architectural specifications of the Safavid bath houses. This specifications not only in Isfahan, but also were used in whole city of Iran, like Mashhad, kerman, kashan, etc. Many of papers which wrote about the Iranian baths houses are about the anthropological faces of this kind of Iranian architecture. Also a few numbers of papers are described only the one bath house. At this time the comparative and analytic studies are very necessary. This paper deals about the formal specifications of the Iranian bath houses at the Safavid period. Top ten Safavid bath houses were selected, and then analyzed from the view of number and circulation and hierarchy of the spaces; area, dimensions, and proportions of Bine and Garmkhane (the main spaces of an Iranian bath houses). The selected bath houses are the bath of Khosro Agha, the bath of Shah, Shazde's bath, Vazir's bath, and the bath of Aligholi Agha in Isfahan; the bath of Fin in Kashan; the Ganjali Khan's bath in Kerman; the bath of Shah and the bath of Hazrat in Mashhad; and finaly, the Kahyar's bath in Dehdasht. This study shows very similarities in the bath houses' design; to the extent that we are able to determine the stylistic formal specifications of bath houses in Isfahan school. The formal specifications of bine and garmkhane have very similarity to each other that not have any relation to the climate, city situation, and the other factors. Also in the whole of cases, the circulation and hierarchy of bine and garmkhane are followed from a uniform order. The bine is more extend than garmkhane. bine also is higher than garmkhane (the h/l ratio of bine larger than this ratio of garmkhane). But the ratio of length on width (lib), in bine and garmkhane is almost equal. The ratio of bine's area on the total area is varied from 0104through 0/39. This ratio about garmkhane is varied from 0103 trough 0/14.The other architectural parameters, like the relationship between plan and section, the unit to whole, the repetitive to unique elements, equilibrium and symmetry, etc; and also the other factors such as structures and ornaments are very important and must be study then. Also the study about Safavid baths' influences on the Qajar and Zandian bath houses must be followed in future.

The principle of hierarchy is one of the essential principles of the universe. In the case of traditional arts it is very significant too. This significance is due to the position of the principle of hierarchy in the frame of traditional thought. This article is first aimed to explain the role of hierarchy in traditional and Islamic- Persian thought in order to examine its various aspects and dimensions. Then in order to examine one of the aspects of hierarchy in Iranian mosques, first the mosques have been categorized into two types based on the way of entering the courtyard. After that the way of entering the court yard is compared with that of entering the iwan and the domed chamber. At the end, the conclusions of this article are represented in two horizons. First, in Iranian mosques the entrance into the courtyard is not coincided with the axes crossing the center of the courtyard. In other words, entering the court yard is from somewhere in margin, but entering the iwan and domed chamber is exactly coincided with the quibla axis which is the main one. The remarkable point is that one is not allowed to pass through the main axis while entering the courtyard but one is allowed to do so while exiting the court yard into the iwan and domed chamber. It is like that some thing happens when somebody is not allowed to enter through the axis but after that is allowed to do so. As if the person who is passing through the iwan is not any longer the one who was marginalized while at the entering point. This difference in the manner of entering two succeeding spaces of a mosque is a testimony to a kind of "hierarchy" which I called it "the hierarchy of becoming a confidant" in this paper. Second, although the architecture is made up of an entirely material structure, it can have a positive impact on the process of the human's soul being connected to the transcendental horizons of existence and can facilitate his or her Gnostic and spiritual perceptions. Such a device as "the hierarchy of becoming a confidant" in a mosque, brings about some differences between the manner of entering one space and the next one and intensifies a feeling of being present in another presence, so that the architecture will play an important role in transferring the person from one state of presence to another. Generally, in the world of tradition there is no division between the natural and the supernatural; all the horizons of existence are in a chainlike and interwoven interaction. Traditional wisdom does not divide knowledge and sciences into a number of restricted areas isolated from the rest horizons of the truth. As a result, it sees the body of architecture in relation to transcendental concepts.

The majority of the historians of the historical texts know the allocation of Bagh Shomal to Sultan Yaghoub, one of the kings of Agh Ghounlou dynasty who governed during the period between Jahanshah Ghareh Ghounlou's killing and govemment of First King Esmaeil Safavi. In historical texts during the government of Shah Tahmaseb, this garden was mentioned indicating that the king immigrated from Ghareh Bagh and dwelled in Tabriz palace in 926 of Lunar year and commended to celebrate the kingdom party in Bagh Shomal. During the government of the King Mohammad Ali Shah~ this garden was the headquarter of the government's soldiers and some of its places were destroyed because of the Constitutionalists' attack. The Russian soldiers were located at the said place during the years 1950 to 1951. The Bagh Shomal was thrived and was a public park until the end of Ghajarieh dynasty. But after non-brisk, it was divided into some parts. A part of the garden and its edifice were flourished until the World War and military, cultural and sport institutes were established there as of 1961. Bagh Shomal originally was formed of four garden named Great Garden (Apple and Pear), Almond Garden, Farhad and Shirin Garden (Rose Garden) and Gastan Garden. In such a way that the general layout of the garden was extracted from an Iranian geometry and the verities of the gardens did not ruin the garden layout. Bagh Shomal has been such as many of the Iranian gardens, two main edifices (old edifice and European Hat). Emphasis on the area of internal yard as a garden and existence of spatial variety in old edifice of internal section indicates the long residence in the garden. The garden has been planned based on the length axle and symmetry in two sides of middle axle and among the various rectangle and square formed various garden networks, there was a big kiosk with a beautiful pool which approximately occupied two third of the length of the garden. It is seemed that water rotation in the garden was not existed based on the principles of Iranian garden and the extend of main and sub streets of the Garden was designed without water motion path. In this Garden, the shading trees have been used numerously in the extend of the main and sub axle. The main purpose of this essay is to reform a picture of Bagh Shomal according to the existent documents and files of Oajar Period. In this regard, the historical contexts and drawn up maps of the city in Oajar Period are of much more importance. Between the existing maps (Russian map, the map of Darolsaltaneh Oarajeh Daghi, the map of Darolsaltaneh Asadollah Khan Maraghei), the map of Darolsaltaneh Oarajeh Daghi was chosen as a base of reforming the map of Bagh Shomal. In this regard, the drawn up map of Bagh Shomal was reviewed in the map of Darolsaltaneh Oarajeh Daghi by using the existent photos, documents and maps, and finally the specifications of this garden was submitted in a general map.

Interaction design is defined as creating a better and more useful relation between the products and users. This word which was first coined in computer science and interface design, nowadays is used in designing of all products. Interaction design is newly established. In the world without computers, interaction design hadn't been existed with its modern definition, but today it has been expanded to a great extent that is known as an independent university major. Interaction design is a kind of user centered design and is always looking for easier ways for the relation between products and users. The studies show that besides the individual differences, user's mental moods in different times, will affect the way they use the products. Having sympathetic point of view with the users at the time they use the products, shape up the basis of interaction design. Interaction design is the creation of a representational dialogue among people and intelligent products, environment and communications encountered in their every day experience. As products become more complicated, often due to technology, designers are facing new challenges in gaining strong user acceptance. The number of people using and developing products powered by some sort of technology continues to grow; these new systems are more functional and robust ever, providing more features, functionality, and capabilities. Interaction designers strive to create useful and usable products and .services. Following the fundamental tenets of user-centered design, the practice of interaction design is grounded in an understanding of real users-their goals, tasks, experiences, needs and wants. Approaching design from user-centered perspective, while endeavoring to balance users' needs with business goals and technological capabilities, interaction designers provide solutions to complex design challenges, and define new evolving interactive products. Designing products highly interactive in nature becomes much and more complex than before going beyond traditional realm of industrial design. More ever, the fundamental definition of "a product" is being challenged and requires a fundamental shift in thinking as well as new work methods. How people interact with products, systems or environment and its social and cultural impact is what Interaction design is concerned about. Well known companies in today's industrial associations, for keeping survived in challenges and stay famous and being able to sell their products, should gain profits from interaction design in designing their products. In order to know the Iranian users and find out about their manners and attitude regarding the products, a study was carried out. In this study 100 Iranian men and women users above 18 years old were selected randomly. The samples were chosen from different economical and educational background. The study performed by interviewing and filling the questioners regarding the way of using the modem products. The focus of the study was mainly on the digital products. Data were analyzed statistically and biased on the percentage of the answers. The results showed that Iranian have their own especial behavior regarding the products.

Splendor (beauty) and grandeur (majesty) are two unique terms in Islamic philosophy and mysticism. However, both play such an astounding role in the realm of traditional art particularly in painting that an explanation of painting seems impossible without a study of their functions. In Iranian painting, versatile characters have been painted bearing their unique physical and visual refinements. These features can be studied under the following headings: value-oriented, such as "good and evil beings", imaginary such as "mythical and real beings", mystical such as "lovers and the loved ones", social such as "the kings and the beggars", religious such as "the prophets and the angels", and demonic such as "demons and dragons". All these creatures can be studied under the category of splendor and grandeur, but in this article we are concerned with demonic creatures. As a case study, the article reviews seven images with demonic or dreadful themes so that aesthetic expression can be analyzed for demonic theme. Image 1 by Muhammad Ali, is titled Monkey Riding a Fox, belongs to the Safavid School and shows the monkey and the fox performing a passionate dance. Image 2 deals with the love story titled Khosrow and Shiring in which the master painter portrays the horrible scene of a father being slain by his son (rivaling lovers). Image 3, Battle of Rostam and the White Devil, shows the symbol of a vanquished enemy in red traditional clothing. Image 4, Battle of Imam Reza and the Devil, reflects the battle between the good and the evil in two metaphysical and mundane realms. In image 5, Defeat of Demon by Tahmorath, '" work of Sulatn Muhammad, a group of demonic creatures have been portrayed that seem to be performing a passionate dance in display of devils being destroyed by Tahmorath. Image 6, Dancing Demons, is the work of Mahmud Siahqala, a master of fresco painting showing devils different from all devils illustrated in the whole history of Iranian painting. Image 7, Battle of A Man and A dragons, is the work of Mo'in Mosawar, showing a man who has become entangled between the dragons. Question: Why are the demonic and dreadful creatures being portrayed so beautifully despite their awesome nature or negative roles? Answer: It is assumed that beauty is the dominant principle in Iranian painting, to the extent that even the demons have been portrayed as beautiful creatures. The feature stands out as a secrete and the present article is intended for a decoding of beauty. Findings of the research are: 1. In the process of artistic creation and in his encounters with the devils, the artist's mental structure chooses the aesthetic language and expression. 2. The theoretical source of aesthetic demonic grandeur in painting is based on ibn-e Arabi's theory of manifestation in which the splendor and grandeur are two radii emanating from the realm of manifestation. However, grandeur is such that because of the burning lights, the dreadful creatures cannot be looked at and portrayed except through splendor and grandeur.

One of the shinning periods of Iran's painting has been Safavid era. And Isfhan school is the beginner of new evolutions at this arena. The analysis of painting at this period not only facilitates the identification and development of artistic schools and a picture of gradual painting evolution but also it identifies the unknown hidden aspects of the arena. The article is on pictures and designs obtained from various exclusive resources; all of them stamp Shah Abbas the first king of Iran at that era, they show that belong to the king of safavid. Since the best results were concerned with the selection of same pictures that had been created at the same period, the most prominent painters called Mohammedan, Mohammed ghasem and Reza Abbasi. They were studied. After some studies, we realized that, although the stamps on the opus could refer to the date of creation, but we could not have a definite conclusion. Thus, the study of available ascription on the edges of the pictures could solve some ambiguities concerned with pictures, it also will provide some exclusive information on artistic spaces of the era and its prominent. Thus; Based on the study of Mohammed ghasem's relic and the available writings as well as stamps we could distinguish that the painting student has not been a student of Reza Abbasi, but he has been his contemporary artist, that has been worked at the same time and with a similar style. The study of the pictures of Mohammedan and paintings of Johari Nasab show clearly Mohammedan creates that both types of mentioned pictures. The variety and opulent of seventeen century documents indicate that they belong to other artists, they are not just Reza Abbasi's paintings. Professor says that the studied artistic works belong to other prominent painters. No doubt, the popular methodology analys is concerned with Iranian paintings is very important, but we could investigate more realistic and apply the criteria about stamps so that writings on the pictures could be a key to achieve desirable conclusion.

Medea saga has been enchanted so many distinguished dramatists, from ancient time up to now. Though all of them followed the same sequence of actions, they presented different subject matters. Since the dramatic character plays a central role in every dramatic text, this research aimed at investigating the element of dramatic character to achieve a better understanding of the techniques in developing different subject matters based on one sequence of actions. How the playwrights elaborated their dramatic characters and the network communications of the characters, to attain their aspired subject matters, were surveyed in this research,-Subsequently the main hypothesis of this research formed as following: The outstanding traits of dramatic characters and their network communications can play a crucial role in developing different subject matters. To appraise this hypothesis two works among all plays written based on Medea had been selected: Medea by Euripides and Medee by Corneille to examine this hypothesis on these cases. Euripides portrayed an unscrupulously clever woman, namely Medea, in a sequence of actions which was followed by most playwrights who picked Medea as their heroin for their works. Corneille inherited the sequence of actions from Euripides and some of Seneca's ideas in his Medea. So the dramatic characters of these two plays were examined comparatively in terms of numbers, characteristics and network communications. Hence it has been shown though Corneille and Euripides built up their plays according to the same sequence of actions, they presented different characters in terms of number and identity. In addition the network communications of the characters that each of them structured revealed two diverse approaches. Euripides put Medea on the center of all communications, characters mostly addressed Medea. But Corneille presented his characters in a multi-dimensional network communications produced complex relationships. On the other hand Euripides orchestrated women characters, Medea, nurse and chorus, so sophisticated that he could generalize Medea's problems to women's. Euripides linked the subject matter of Medea's trouble such as exile and the position of women. But Corneille concentrated on Medea's odd situation as a wicked witch, barbarian and tragic heroin to show an unusual woman suffered from spiritual turmoil. Moreover the antagonist and protagonist on Euripides had been attributed characteristics such as cleverness, intelligence and tricky that could present a strong tragic conflict. Corneille illustrated Medee as a betrayed and insulted woman who tried to win back her husband love. Finally she accepted defeat and planned a diabolic avenge. Jason, a timid, opportunist and ambitious husband in the face of such determination appeared so weak rather evil. Naturally their confrontation produced more or less a sense of sympathy for Jason. Worth to be noted, in Euripides Medea was genuinely torn between her maternal love of her children and fierce desire for revenge. Some of this could be traced in Corneille. But the truly human drama was lost; instead it was supposed to understand the truly horrific power of the passions when they are out of control.

Today, changes and transformation arising from the software and hardware expansions are easily noticed in different fields of science and technology. Subjects related to modem technology are affected by this theme, more than the other old tendencies. Animation with new learning approach and human findings has accepted a deep effect, in a way that all the stages of a study: designing, execution, compilation, edition and reproduction have been attached to electronic equipments and new software and technology. In this research paper, place of present animation subjects, production and professional human resources as well as existing expertise at various levels have been taken into consideration. What possess importance here are: role of education, art and production management in the current programs of organizations parallel to secondary and higher education. Effects of pre-university and even pre- school education for laying ground of animation subject are deliberate and exact. Production programming, optimization of production outputs and execution process, animation development and system transformation, growth in education and training of experts are other outcomes of the present study. Results acquired from this research have presented clearly and explicitly, which include a) new production through educational and technological arrangement, b) creation and starting of animation (This article is the part of research proposal "Production Methods and Animation Development in Iran" approved by the Research Council of the university.) schools, c) Starting comprehensive industrial animation programs, d) comprehensive programming for short and medium duration. This is a guide that has been in the process of transition, variation and presented for successfully explaining the places of the system of educational process, places of team of professional art expert, art management, production execution and nationalization of animation. Use of efficient tools for preparing professional images, in order to animation production is constantly innovation. These changes, influenced from the development of particular software as well as internet and information networks need acceleration. Two actual perceptions for the response to the present needs are: transformation and growth of expertise for the substructures of educational and art management and as such, correction of the pre-university route-course for the applicants of art and production fields. The basic and accessible steps in the educational process are also production and scientific and professional development in complete animation. Execution and organizational considerations pave the way to accede to the approved rating, creation of animation school and laying out of industrial animation. At the last stage, management process for the production methods at least on international standard, acceptance of designs and specialized projects and demand axis are taken into consideration for the development of stable animation.