نشریه باغ نظر
سال سیزدهم شماره 44 (بهمن 1395)

In classical hermeneutics, the process of understanding is a mental operation realized the live human experience by it. Understanding opens our world and to us. According to Heidegger, understanding is the power to understand one’s own possibilities for existence and in the context of the global environment which the man lives in. The achievement way of the understanding, understanding layers and the issue of circularity of understanding are the concerns of the hermeneutic and ontological theologians. In this regard, Roland Barthes1, in his latest book, "Camera Lucida", in an understanding achieved from the photo as a text, considers the entities of the photograph context in a rotating circle of the audience and the life context and the dialectical relationship between the particular audience of the photo, the context of the photograph and the tradition in which the audience and the photo have raised. The circularity of understanding is one of the important issues discussed in the hermeneutics of Schleiermacher that today it is known as hermeneutical circle. In the history of the philosophy, Schleiermacher2 has remembered as the father of the modern hermeneutics. He has delivered the circularity of understanding to describe the understanding the text. While the later, Martin Heidegger3 and his student, Hans-Georg Gadamer4 , in his hermeneutical theory, did not dedicate this issue to the understanding and they developed and expanded this circle to the fundamental principle of human understanding on the nature and his state. Hermeneutics circle, totally, describes this issue that how the component and the whole, in the process of understanding and interpretation, are related to each other in form of a circle: understanding the components is necessary for understanding the whole, while understanding the components, there should be understood the whole. Our understanding of photos depends on the current situation of the interpretation and the interpreter and also the interpretation of photos is related to the world that the photo describes it. The appearance of such understanding circle can be observed so well in actions and reactions of the photography and in the conditions of the truthful sight. This paper, based on the text "Camera Lucida", has investigated the nature of hermeneutic circle of understanding on the interpretation of photographic works and has attempted to explore the representations of the understanding circle in the context of the photo.

Contemporary world recognizes the predominance of visual forms of media communication. In our contemporary Visual Culture, visual images are everywhere in all imaginable forms. So we need to be able to read and analyze these images and understand how they relate to each other and communicate meanings to different viewers. By introducing ideas from theories of Visual Culture this study aims to provide a deeper understanding of images in contemporary culture. In visual culture studies, there is a relation between images and consumers that are evaluated for their cultural significance, not just the image in and of it and, as a focus on cultural meaning of a work of art, rather than on its aesthetic value.
World War1 was a balanced confrontation, not only in terms of armed forces, but also regarding ideologies and cultures. The protection of specific cultural contexts, including Aboriginal and regional cultures is observed In world war 1 posters design, so it is comparable to the Iran and Iraq war posters. The question is: what is the role of visual culture in the Iran posters design in the Iran and Iraq war and British World War I posters?
This paper presents a selection of examples from posters of Britain and Iran to interpret the hidden meanings behind these images by using the analytic and descriptive method. In addition, the posters of the two countries are compared to each other in order to identify and develop a deeper understanding of visual culture. The result of this study reveals that reflections of British and Iranian cultures in poster design, along with the use of cultural codes that are generally used consciously depending on the designer’s knowledge of the cultural values of the society in which they live influences both the society’s esthetics preferences and its visual culture. Data collection and sampling of documents is optional.

It seems that the existence and survival of music in the city as an example of urban art is dependent on the interaction of three factors: artists, public space and citizens as the target audiences. This means that ignorance and deletion of one of them will change the whole nature of it and this not only will stop the desired affect and quality including the increased sense of identity and belonging to the city expecting from the presence of art in the urban space, but also will lead to some disturbances. By proposing this issue, the primary objective of this study has been to answer the following questions about the mourning music in Tehran at Qajar and Pahlavi’s urban space:1) To what extent the survival of musical mourning is dependent on the urban art structure?
2) What qualities the mourning music has acquired in the urban space?
3) What effects the socio-cultural changes resulting from modernization have had on urban life of mourning music?
This research study based on the written and visual documentation, evaluates the mourning music in Tehran urban space during the above mentioned [historical period] in two groups of religious and non-religious mourning ceremony including "Passion-Play (Tazieh)","Weeping (Noha Khani), Handling the groups of mourners (Dasteh-Gardani)" and "Chest beating" (Sineh- Zani) and also the "funeral ceremony of government `s officials and courtiers" as a symbol of urban art; this study then concludes that in the Qajar era a bidirectional communication had been established between the public spaces such as squares, forecourt of the public buildings, Takaya and streets as a context of forming the interaction of citizen and the mourning performers with the performance of mourning music.
Therefore, by having the perfect combination of three mentioned
components, the mourning music is considered as an urban art that takes its role properly in creating social space and aural identity and also giving quality to the public spaces; while after Constitutional Revolution (Enghelāb-e Mashrūteh) era with the arrival of westernization (Frankish) particularly under the influence of Pahlavi1`s cultural policies and the appearance of outcomes like allocating the non-public spaces to perform the variety of music, the absence of conscious artists and the participation of active citizen , gradually this form of art has backed away from the original nature of an urban art and while losing its function lacks the identity as well.

Architecture developments and urbanization in each territory reflects the social, political and cultural background of that country. On the other hand, achieving an understanding of the position of contemporary architecture in each territory in the global arena without understanding the developments of contemporary architecture of the countries with cultural, religious, regional and political similarities would not be possible. While the second Pahlavi era in Iran is the source of extensive developments, in the Middle East and in the contemporary years of this period (1940 to 1980) the political and social currents and therefore architecture in Turkey was formed with the same backgrounds with Iran.
Thus, this study seeks to identify factors affecting architecture in Iran and Turkey, and compares the contemporary architectural developments in the two countries. In this study, differences and similarities in the contributing factors and also the architectural developments in the two countries have been questioned. It has also been tried the contemporary architectural developments in the two countries be possible through the field of comparative study. To facilitate the comparisons, the same time periods in Iran and Turkey have been introduced based on social and political developments and consequently the architecture, in the two countries. In this study, historical interpretation methods along with field study are used. The results of the study analyses the comparisons of various aspects of architecture developments and urbanization based on the mentioned periods and shows the overall similarity in compliance with the international currents and the other currents in the above-mentioned three periods, contemporary architectural rends in these two countries do not meet the objective.

Naghsh-e Jahan square is one of the most important historical squares of Iran and the world that has changed a lot in its long history. Most of these changes include the open space of the square and its surrounding monuments are nearly the same as the past. In this paper, in addition of representation of open space characteristics in the square of Safavid period and analyzing its spatial values, the process of historical changes through time emphasizing present time was evaluated. Research approach is historical-analytical based on documents, transcripts, oral tradition and historical images related to the Naghsh-e Jahan square. For current situation, most of the data has been gathered through field work.
The aim of this research is representing the original condition of the square and documenting its historical changes particularly the current situation. This work provides a kind of comparative studies about the spatial values of the square in the current and past situations. The article has also analyzed the existing issues of the square open space and has offered a number of suggestions for improving the current condition. The results indicate that the previous situation of the square open space in Safavid period had caused the desirable condition and qualities such as climatic comfort, vitality and pleasant landscape that some of these qualities have been weakened because of changes during the past centuries. However, it is possible to increase spatial qualities to make the square more similar to its original situation by revitalizing the square open space.

There are several reasons why the maintenance of spatial relationships is important in residential homes. Research in this area is being performed on more than 100 homes from the Qajar era in Kashan City to determine the presence of open, half open, and closed spaces, and based on these relationships shape grammar is being used to create a variety of designs. Shape grammar is a manufacturing system within which a set of rules leads from the desired form to the design.
In this study, three spatial types are considered: a courtyard space (open space), an eyvan (partial closed space), and a closed space. Based on these three spatial elements, design plans consist of three types: single court, double court, and complex. Spatial relationships within the homes are defined using the manufacturer’s specified rules and this algorithm. As it turns out, with the use of these specified rules and allowable spatial types an infinite number of design solutions can be provided. The use of shape grammar to interpret tradition home design in Kashan City lead to the creation of many new designs that are displayed through the use of a decision tree. The goal of this research is to allow for novel home designs while maintaining the essence of traditional Qajar home architectural style.

Previous studies suggest that spatial analyzing and typology of non-religious specimens such as "Palace"- including a glorious space which has formed in order to satisfy royal aspirations- have been faceeduncertainties because of its essence.According to the conclusions, the innovative movement of Iranian palace making has introduced the scheme of specific palaces with an octagon plan during Safavid dynasty, while historical documents have narrated that, the prior type of this palace has transmitted to other points of Iran and neighboring territories by forming during Turkman’s dynasty with capital of Tabriz.
The current study aims to clarify the architectural form of Tabriz’s Hasht-Behesht palace beside its direct influence on Iranian and foreign specimens by analyzing historical contexts. The result of this study shows that , the formation of Tabriz’s Hasht-Behesht palace is connected to compulsive immigration of craftsman and architects of Northwest Iran to Central Asia by Timor and experience of nomad’s lifestyle which by transitionof capital to Tabriz, the type of Hasht-Behesht had been revealed and influenced Qazvin’s and Isfahan’s specimens during Safavid era. It sounds that, the geographical position of Azerbaijan beside ongoing political tensions with Ottoman empire was effective in distribution of Hasht-Beheshts form into Chinili kiosk palace.On the other hand, the presence of Indian envoys in Iran and their friendly relations with Safavid governments was pregnant in Hasht-Behesht form in Indian subcontinen. For example, Timur ´s efforts1 in transferring many Iranian artists and architects, especially the architects of Azerbaijan to Samarkand (the capital city) and the use of their plans and architectural ideas around Samarkand leads to constructing many gardens and internal architectural spaces under the impact ofIlkhanid Mongols´ architecture. It seems that during the Timurid ruling, the renaissance of Iranian gardening, "kiosk" as a fixed element gradually replaces the existing palaces of the kings in that period. It seems that as times went and administrative, governmental, and recreational sections got integrated and by adding private usages to the complexes (Haramsara), destructable architectural elements (Sarapardeh) were replaced by resistent materials. From this view, Samarkand is a sample of garden cities during Islamic period in a way that there is a garden in the city in which a city with all facilities is located. In most cases, there is an architectural space or kiosk in the middle of the garden that was called palace, mansion, or garden depending on its application. These buildings, normally with a 4-section plan or cross-shaped plan were multi-storey with a view over the garden.

Religious ethics are considered as the most influential factors in configuration and development of urban spaces during Islamic era. Thereby, waqf [endowment] tradition as a sublime religious ethic has led to creation of different spaces varying in function in the context of Iranian cities during this period.
This paper tries to investigate the role of endowed buildings in formation and growth of urban spaces in Rey city during Qajar era. Considering the key role of endowed units in formation of Rey city, it is assumed that removal of these units will lead to rupture of historical fabric. In order to answer the research questions, Qajar endowed buildings in the historical fabric of Rey city were studied and the role of endowment in formation and growth of this city and the architectural connection of these buildings was evaluated by documentation and recording (submission) of information
Having compiled the obtained information from written sources with the data achieved by field investigations, it is undoubtedly confirmed that endowment tradition has been influential in space formation and city structural growth of Rey city. It was also found that the most prominent endowed buildings in this city were the organized commercial buildings. Their role in the spatial organization of the city is to the extent that the removal of endowed units can lead to complete rupture of historical fabric structure.