HONAR-HA-YE-ZIBA
Year:2006 | Volume:- | Issue:25|Papers Count:16

This article based on studies of dissertation about "Meaning and Congruence in Urban Form, An Analytical Approach to Develop urban Design Guide lines" The theoretical issues concerning the urban form, meaning and how to obtain meaning through urban form, have been studied, aiming to support the psychological expectations people have from their cities in creating, promoting and revival a meaningful environment. On the basis of this study, meaning is one of the most fundamental and necessary characteristics which may and should be transferred and communicated through the environment. In other word, meaning is an important consideration in facilitating the functions of a city. Because the ability for recognizing places, scheduling the behaviors, finding and determining directions and reading the signs and symbols, which are the outcomes of a meaningful city, are all a pre-requisite for availability and function. However, correct perception and legibility of an environment are a part of emotional satisfaction of living in a city. Some conclusions were made from the theoretical orientations, and different levels for creation of the meaning of the urban form were compiled and classified. Finally, based on the research findings, some criteria were presented for promotion of the quality of physical aspect of the city for the purpose of enhancement of capability for creation of mental image and physical distinction.      

Explaining characteristics of vestiges of a civilization or society requires considering criteria derived from the ideology and culture of that civilization or society. This consideration, although one of the most essential issues, is usually neglected. These results in evaluating plans and designs with foreign criteria, which is a wrong approach. Consequently, the resulting designs and plans become strange and relevant to foreign models. This article is concentrated on issues related to Iranian urban squares and their transformation during the last decades. The main point is that religious and national rituals and ceremonies of every society require their own specific space. This is whilst today, Western models and criteria are the main sources in both evaluating traditional spaces and designing new urban spaces. Consequently, considering the fundamental differences between religious and national ceremonies of Western societies with the Iranians', it is not suitable to evaluate and design Iranian urban spaces with the Western criteria. Instead, the main criteria should be derived from Iranian culture. To clarify these issues, discussions are categorized under the following headings: the concept of square and its transformation in Iranian culture, transformation of urban square functions, characteristics of squares in the contemporary era, the main elements of urban squares, natural elements in squares, the main factors affecting transformation of urban squares, social functions of urban squares, and conclusion.      

Shiz is being known as one the major religious city prior to the Islam period. Takht-e- Soleiman is one the remaining of that period, now is located in the south of West Azerbaijan. This study has been carried out on the basis of finding in two sections. First section of the study is dealing with the investigation regarding the location of Shiz and its conformity with the existing site of the Takht-e-Soleiman in addition Azargoshnasb fire temple. Also has been considered as an indicator in order to get some relevance to the history of the site. Through out historical reviews and sources, first we have looked at conformity of Azargoshnasb fire temple with Takht-e-Soleiman and then comparison of the finding with location of the city of Shiz in this regard. Since the existing remaining on the site is belong to the sasani and IIkhani periods, therefore the physical analysis carried out within two periods. The end result of finding indicates that the location of Takht-e- Soleiman is conforming to location of the city of Shiz. Probably, building of Shiz was been based on water and fire in sasani period. These elements have influence on form of city.

Sahib Abad collection that its remainder has been known as Sahibolamr collection is on of the historical and precious collections of Iran. According to inspections this collection had been the capital of the Iran government and the seat of the commanding of kings like jahan king" uzun hasan" Esmail king and Tahmasb king" but nowadays only remained the name and membrane of this collection and changing of the usage of the collection has resulted decreasing of magnificence and eminency of the collection. Initiation of the construction of the collection goes back to Abagakhan eraduring the time of Sheikh mohammed Javini's chancellorship, his great minister. With construction of the collection the expanding process of the Tabriz city stretched to north part of Mehran River, and takes governmental for. Later on during the Jahan king era Darolhokume has been transferred to this collection from Sheshglan. Metraqchi while description the city of Tabriz Safavid era he also prepared design of the city. Tabriz city which are the oldest and archaic available pictorial documents about Tabriz city, in on part of these designs the  garden and square of the Sahib Abad have been distinguished.      

Because of existing of a high-level potential of the wood resources in forest zones in north of Iran, the residential architecture is completely different from the other parts of this country. The present work is concerned on a special building in the center of Guilan which is called the "Shekili building" and some constructor people believes that the "Shekili" is a magical pattern of wood employment in residential building structures. The paper also tries to show the procedure of finding the best choices of the residential construction materials, and the wooden based structural details. Meanwhile, the current work also presents the special characters, building construction details, and the traditional construction materials of the "Shekili". The information is collected from the villages and structural parts which are marked on their native names. However, most of the information are collected from human resources and detail field observations of the traditional buildings in selected villages. Additionally, some details about the loading and structural analysis are also explained, which all of them illustrates the knowledge level of the building constructors of Guilan. Finally, by illustration of some fundamental characters of Guilan traditional architecture, useful guidelines are proposed for more optimal design of the traditional buildings.    

By deepening the nature and the meaning of function in architecture and testing the Modernists' dictum "form follows function" through content analysis of modernist masters' statements, the research finds that there are some contradictions among the statements and unacceptable conclusions. It is suggested that although the Modernists' slogan is a major break through in architectural normative theory it is not comprehensive enough in order to find a just relationship between form and function or between physical environment and human behavior and needs. The research findings reveal that the concept of functionalism is anchored with vast varieties of human characteristics and needs and potential affordances of physical environment and/or architectural forms. The paper finds that it is necessary to revise the modernists' slogan. It finds that Modernist deterministic approach to the relationship between form and function is unacceptable. It selects a probabilistic approach and offers a new statement which can contribute to statements; the research finds that there are some contradictions among the statements and unacceptable conclusions. It is suggested that although the Modernists' slogan is a major the better understanding of the nature of form and function and their relationship in architectural design and theory. Architects will be able to build theory based on their knowledge and practice to elevate architectural and environmental quality.        

Theoretically all viewpoints, making recognition, consider the image construction based on symbolic system. The variety of these viewpoints and ideas related to each one provides different approaches to analyze and recognize the pictorial signs. This is important since the pictorial sign is the artistic appearance of human viewpoints toward different concepts in the form of picture. Hence among the different viewpoints the literal and artistic approaches and theories can study this sign better. The major goal of this article is to introduce these approaches which lead to development of Graphic works review as well as written literature in this art. Since the Art of Graphic is formed based on pictorial signs. The first chapter of this article on the strength of different scientists, ideas, studies about the pictorial signs and the addressee. In the second chapter, different methods of recognizing and analyzing the pictorial sign, including the form and content analysis, types analysis, iconography and introducing semiotics in the classified chart are all offered. In the chapter of conclusion by totaling all approaches we prove that semiotics is quite successful in analyzing the pictorial sign by providing enough reasons.      

Today, photography in Iran is one of the most popular forms of visual art with a large audience. On the other hand, popularity of photography among the younger generation as a pure form of art with an interconnection with everyday realities is on the increase. The art of photography, which was exclusive to the court in the first three decades of Nasseri rule, became a popular form after Constitutional Revolution. With the advent of the Islamic Revolution and the shut down of the mass media (newspapers and television) as a result of general strike, photography as a means of news dissemination assumed greater significance. At the beginning of the imposed war, photography, which went beyond the conventional news application among artists with strong belief in this art as a media, became very popular and they founded a special school in war photography. Creative photography is a form of photography which is associated with an artist's sentiments, aesthetic principles, and his subjective and emotional perception and is far from a merely objective record of subjects. A photographer may manipulate the tone, composition, and type of the sensitive material to better express his thoughts in creative photography and employ special perspectives, allegory and irony in his work. He may even use collage or multiple negative exposures. This type of photography puts aesthetic aspects in contrast with applied branches in photography.      

In this Article the main discussion is about the role of intuition in creating and forming artwork." Bergson's" philosophy of art more than other philosophies discusses about the intuition. By analizing "Bergson's" views about intuition and art we seek to answer this question: whether art work is produced by thought or intuition? In order to finding answer the intuitional believes of "Croce"and "Coling wood" in philosophy of art is concerned which deals with the subjects such as: symbolic knowledge versus intuitive  knowledge, emotional expression versus imaginative expression and the difference between the artistic creation and understanding with pure rational activities. On the other hand by presenting a brief discussion about the function and origin of intuition in understanding artworks, we deals with three main art's fields: artwork, artist, reader (addressee), . which are in challenge as the origin of artwork. By considering the modern hermeneutic , reception theory of meaning, and the "Iser's" view on knowledge of signs (traces), meaning ambiguity and defamilirization, we try to analize the process of intuition from artist (Autor) to artwork and from artwork to reader(addressee).    

Some of the fundamental methods in "media study" are searching aesthetic, semiotic, and content analysis aspects of nonverbal communication in "cinema images" as mass media. Cinema from the first days of creation had only important communicative duty and it was communication with the audiences. The actors of the silent comedy cinema from the first time could have done this duty very well. They gave meaning to the "actual and basic values of Hollywood silent cinema and its acting style" by effective usage of nonverbal behaviors and improved this cinema genre and its entertainment and comedy aspects and defined it among "Global audience" that each of theme belong to a different culture. Classic and contemporary theories and researches, which are related to comedy, confirmed semiotic and nonverbal communication, effective and aim full historical activity of these famous comedians. This article explains the semiotic concept and understanding of nonverbal communication among the best comedians of Hollywood classic cinema and the causes of its successful position. Iranian society due to present problems and difficulties need to live with happiness. Showing the silent classic movie movies and getting the pattern of these comic actors by our c our comic actors, not only can help to ever last these films film's but also prepare the field for a healthy competition.      

This paper has as its aim an analysis of "The Persians" by Aeschylus (456-525 BC) as an Orientals text. The theoretical framework for the study comes from Edward Said's views about orientalism as well as the colonial discourse theory. Taking the first extant Greek tragedy as a founding text of orientalism, a notion confirmed by Said himself, the paper tries to trace and analyze its   rientalist conceptions of Persia  and the East. The text discussed is considered as an "archive", in the Foucauldian sense, of topics, motifs and imaginings about Persia and the Orient (luxury, fabulous riches, proud display, eroticism, despotism, etc.). In "The Persians" we see the first recorded East / West encounter in a Western literary text, that is, the first (literary) representation of the Orient from the Western point of view. Appearing as the  "other" of Greece Persia is simultaneously the object of fascination and abomination, which manifests the split discourse of the play. This split discursive practice is also taken on board. "The Persians", it is argued, is a highly important "petit recite" in the "grand narrative"of orientalism.    

The new word of theater undoubtedly owes to both Swiss Adolph Appia's and British Gordon Craig's theories. Beyond their opinions stage designing discovered another word as the most prominent evolution of new theater, but in this case the important matter is that until now no specific rules for designing the theater stage and stating the processes of designing have been collected but finally every thing depends on designer's initiative and personal experiences. On the other hand architecture as the base of new stage designing has offered appropriate solution for collecting these rules to stage designers which necessity of attention to is irrefutable. The rules which often are collected in various domains of architecture and demonstrate the evolution of design process systematically and scientifically. On the other hand since architecture forms the base of nowadays stage designing of theater we can also benefit from precise elements of this field for theater scenography. This article tries to offer the rules as a system in the field of scientific stage designing by the use of three of most dominant contemporary stage designing and architecture theorists' (i.e. Appia, Craig and Le CorBusier) analytical theories and explaining one of the author's stage designs which has based on this research and has been performed.