HONAR-HA-YE-ZIBA
Year:2005 | Volume:- | Issue:22|Papers Count:13

The aim of this article is to consider the concept of wholeness as one of the shaping principles of the city. According to this concept all sensible entities are coherently and harmoniously integrated to each other and a notion that all these fragments are separately existed is evidently an illusion. Considering whole as one thing and not separated parts and the position of the observer and the observed, leads to different approaches of wholeness. Wholeness which explains the relation between parts of the object in objective-oriented approach, is clarified relation between parts and the observers mind in subjective-oriented view. The paper consists of three major parts. First wholeness in general view (meaning of wholeness and wholeness world view), second wholeness in special view (wholeness perception), and finally the wholeness concept in the city and different urban design view points meaning city as a whole.

Throughout this article, after a brief review of some Structural Linguistics theory principles, the author has tried to give an analysis of urban form. This analysis which has been considered as "Structural-Syntactic", has as its main purpose the explanation of urban physical change and metamorphosis. To reach this aim, "physical string (or sentence)", as a unit for analysis, has been defined, recognized and studied. By evoking the notion of physical strings, a syntactic and semantic interpretation of urban form and space can be taken into account, by which one can explain many of the spatial and physical fragmentations and permutations in an urban context.As a tool for interpreting the urban form, the structural and semantic approach to literary sentences has been borrowed and introduced into an urban complex (Zandieh complex in Shiraz); a complex which has had as its components some built and well defined elements and urban spaces. In the given Structural- Syntactic analysis, the loss, deterioration or fragmentation of these elements and connecting spaces has lead to the absurdity and insignificance of the physical string. This interpretation reveals some of the formal, physical and spatial consequences of undesirable changes and mutations of urban form and fabric during the last century in an Iranian traditional urban complex.

For improving the living situation in larger villages, the preparation and implementation of rural guide plans have been practiced in Iran since mid 1980s. The main objective of this paper is to evaluate the physical impact of the implementation of rural guide plans in western part of Guilan province in northern Iran. Among the implemented projects, eleven of them which have had most progress were chosen as samples. The selected plans are located in seven Shahrestans of Astara, Talesh, Rezvanshahr, Masal, Somesara, Fouman and Shahft. In this study, data were collected through field work using questionaires for rural inhabitant and interviews for provincial and local authorities. A SPSS software has been used for data analysis. The main findings of the study are The implementation of rural guide plans in studied villages has increased rural inhabitants for living in villages and improved the living conditions in the studied area.While the implementation of rural guide plans has improved public service for villagers, it has not met the expected environmental considerations and public participation especially in the provision of plans.Because of the problems in the process of preparation of Guide Plans, they are faced with implementation problems. This leads to the delay in the completion of plans.Both people and authorities are not satisfied with the way rural guide plans are implemented at present, and they want changes in the way it is carried out.

This study is an examination of the role of physical design of environment in making sense of space for users. In this research compare people's sense of space in contemporary mosques with traditional and innovative designs in Tehran. Survey questionnaire was used as the main research instrument to analyze and compare cases. The questionnaire asks about the definition of mosque, prayers' relationship with mosque, identity and beauty factors of mosque, activity and satisfaction with mosque. These mosques are similar in social, functional and situational characters, which help to keep reliability and validity of survey. The collected data are compared and analyzed with SPSS software. Analyzes show that prayers' gender, education and age are not important factors in sense of space in these mosques; but the kind of prayers' relationship with mosque, physical identity of mosque, mosque activity and satisfaction are important factors which affect prayers' sense of space in these mosques. Prayers' believe that physical symbols, architectural design and activities are important features, which define mosque; but architectural design is the most important factor that identify mosque; and symbols link other two features. And increase sense of space. When the difference importance of these features increases, prayers' sense of space toward a mosque decreases. Dimensions, scales, forms, textures and spatial relations as the important physical features, are the most identifier factors of mosque.

Based on documents and studies about rural housing and architecture, although the Rural houses have many architectural values regarding to their aesthetic patterns, building materials, simplicity without any ornaments, adaptation to family needs and earning methods, they have many deficits and are prone to natural disasters. There is interference of living and economic-productive spaces that cause indoor pollution. Mean while so many of these defects and advantages haven't been studied. In addition the problems are not unique in the different parts of Iran. So it is necessary having knowledge about the specific characteristic of each individual area of our country.The definition of standard rural housing characteristics and the results of studies about current housing characteristics in the different parts of our country, which has been done in Jan 2004, have been shown in this essay. Meanwhile the current differences in qualitative and quantitative needs of rural housing in the different areas have been shown. In addition the emphasis on avoiding unique plan and program for different states has also been mentioned.

This essay undertakes a review of the role of the EIVAN in the traditional Persian and investigates its role as a semi-open space from the point of view of form, concept, and function. Here the EIVAN is discussed as a space of the traditional house that contains a formal, conceptual, and functional quality, and whose presence next to the open space of the house enriches the spatial experience.Therefore, at the outset an understanding of the origins of this space from the aspects of meaning and a sociological analysis is pursued, as well as from the history of its formation in the context of the architecture of Iran and in particular as related to the house. Next, the significance of this space as a semi-open space will be examined; and finally a number of examples of the traditional houses of BAM will be looked at.The essay concludes with a number of architectural proposals for designing houses in BAM that consider identity-related, conceptual, and functional prospects of the EIVAN for Iran.

The traditional village houses in north of Iran, with their different appearances are the simple exerptions of the nature and geography of the north, and they are also responsible to all the necessities of the people who their economic and existing culture are completely different from the other parts of Iran. The current paper is not only trying to investigate about the general forms and the formation of the traditional village houses of Guilan, but also illustrating the influence of the popular culture, living activities and regional-geographic parameters on this kind of village architecture. The origins of the special architecture appearances of the region, and paying attention to the living and activity necessities of the residences of the traditional houses are also farther studies of this paper. Additionally, a short study on the way of showing the physical development of the regional architecture patterns of the Guilan villages is also presented.

In city parks, water has an effective role as one of the basic elements of aspect in forming city space. Recognition of water characteristics leads to distinction of suitable factors for promotion of waterscape quality. The mental and visual characteristics of water would effect simultaneously in designing. Various manifestations of water have been presented in parks with different forms originating from its characteristics.For promotion of showing the quality of these manifestations one should pay attention to effective basics of its creation like form, color and the shape of water container.In this plan, investigation on available waterscape in 3 parks; Jamshidieh, Saei & Shahr, has been of importance, to characterize the effective elements on waterscape designing in addition to proceeding executive details.

In this survey, 169 inscriptions of eight distinguished Ghajarid buildings in Shiraz and Isfahan have been studied. The main focus has been on finding similarities, which can serve as clues to the methods and guiding patterns used in these inscriptions. This can help architecture historians in deriving accurate information from such, e.g. the exact year in which the construction has started or ended, the identity of the architect, craftsmen and artisans who have played a role in the construction or decoration of the building and their sponsor or client. A special attention has been given to contents of these inscriptions, which usually consist of poems and holy verses, and to the reasons of their selection.

This article is a comparative study between two dramatic works, the Ta'ziyeh of Imam Hussein (AS) and the film The Passion of The Christ (by Mel Gibson). Although the two works are different in regard to their dramatic styles and even their artistic and religious precedence, some similarities can plainly be observed between them that are not present in other dramatic works on the life of Jesus Christ. The article first refers to more general similarities including an account of the two characters' pain and sufferings, the motive behind the resistance and martyrdom of Imam Hussein (AS) and Jesus, the significance of blood in both narrations, how friends betray the heroes and how the main characters are left alone. Then, more specific similarities are studied, for example a comparison is made between the characters Mary, Hazrat Zahra (AS), Hazrat Zeynab (AS), Pontius Pilate, the Roman general, and Hor. Other events include how the two characters' clothes are ripped and how the heavens and earth turn black. In fact, by raising comparisons between these works, the article aims to make readers aware of the common principle present among different religions and various narrations that have a religious root.

Most of the researches about the role of The Myth in Creation of Theatre, have Focused on Ancient Greece and Golden age of Theatre (5 B.C); While one may find some Very different rich types of the relation between Myth and Theatre in a Country with a very Old history of theatre Like India.The main achievement of recent article is to realize how Mythical belief has been influential to build dramatic arts in India. Static culture of India and its Protraction into the contemporary periods, makes a Possibility to focus on some alive rituals in India which come from Mythical Stories.As The result, concerning to the type of Myths-humanly, super Natural, with or without story-several models of relation between theatre and myth may be found.Writing this article, the author has made use of being in India for three mouths as a researcher and also of referring to some books which most of them has been written by Indian Authors.

Ali Ebn-Nafe, know as ZIRYAB is a genious in the field of Iranian music, who was envied by his own master, Ishak al-Mawsli, after entering the Abbaside court so that he was forced to go to the Islamic spain (Andalusia).Where he was welcomed by Abdorrahman Omavi. After going to Andalusia, he promoted Iranian customes and manners there and through establishing a school, he managed to transfer Iranian and Islamic musical styles, registers, instruments and theories to spain and other regions in Europe. This research aims to study ZIRYAB'S role in this great event of the history of music.