نشریه هنرهای زیبا - هنرهای تجسمی
سال بیست و چهارم شماره 2 (پیاپی 78، تابستان 1398)

It seems that providing a comprehensive definition of contemporaneity, despite the multiplicity of meaning in a multi-dimensional world, is a vague subject. In defining this word, some researchers contemplate only being present, (belonging to or occurring in the present or a person or thing living or existing at the same time as another) and the other group transcends of this definition with a different definition of contemporary, and defines contemporaneity in the concept of extra time. Addition of contemporaneity to artwork requires, above all, the answer to the fundamental question whether the contemporary period is essentially a certain time period of the art of a land, with all the works related to that period, or the contemporary word, only on works which are consistent with its examples. Sometimes the implications of the new aspect are transcended and the circle of belongings transforms the word. In the use of the word of contemporary with means of (at a time) all the works created at the present time are considered contemporary. But when we use contemporary with means of (with time), everything that is capable of recording and expressing the components of the present is contemporary. In this case, the mere existence of the form loses its fundamental importance, and the content of the work, insight and manner of presentation by the artist can make the work in any contemporary period of time with the current time. Here, time is important in one aspect, in the audience, and in other aspects, the artist and the work of art, are capable of returning to different periods And this is the concept of contemporary, which is considered as the most practical meaning in this research. Another look at the contemporary notion is an attentive look that at the time no longer matters, and the goals and missions of the artist and his co-operation with these goals, connects him with his contemporary word. If we consider art as contemporary to be capable of expressing the components of the present in today''s language, then perhaps a component of the time is no longer the only pillar and other components are replaced. The study of the theme of various ideas about contemporary and the presentation of a more precise understanding of this unconventional concept, in three semantic interpretations of time (at the time, with time, extra time) in this study are discussed. The research method in this study is descriptive-analytic and the method of data collection is library. According to the results of the research, which, more than other perspectives can be regarded as a rather precise definition of contemporaneity, is the reciprocal view. Based on this view, art works are not limited to being inhabited within a given time frame and may be adapted to the future with their artistic backgrounds. As a result, contemporaneity at the second pole of the work of art, that is, the audience, accepts time, but on its first pole, which relates to the production of the work of art, it does not embrace the time and space.

While some cities have created characteristics feature and attracted audiences with their positive image over time, others are attempting to use strategic plans to improve their image in a short time.Nowadays governmental institutions in cooperation with urban administrations are developing strategies to turn their city to where people are attracted to work, live, educate or invest. In this paper efficacy of urban strategic branding, and visual identity as part of these strategies have been explored, also key opinions of theoreticians such as Anhalt and Cavartziz and basic concepts of the discipline has been investigated. Common strategies used for urban branding during the time, gathered and effectiveness of these strategies has been the subject of investigation. Another goal of this study was evaluation of importance and impacts of strategic city branding in contemporary globalized world. In this interdisciplinary study two different discipline which closely related to the issue, marketing, and design had been used; Research Methodology was descriptive, and in terms of data collection, information from authoritative databases centers, libraries and websites had been used. The results of the studies showed that Magnificent cities are not only remembered by their logo, but some important characteristics such as reputation gained by representation of city identity through advertising campaigns and social networks, presence on the international scene by hosting large events, having unique symbolic bulding and structures, potential capabilities such as economic, education, lifestyle and etc. This article also esplains how one of the most important strategies employed for urban branding is working on image of the city, its visual identity and others representational activities. John Urry explores effects of representational material of a place on choosing that place as our tourism destination in "tourist gaze" theory and this theory was described in this article. Study of statistics suggests that urban branding can not only come off by designing a sign and visual identity, but a comprehensive plan, cooperation and attention of a wide range of people and institutions is needed. For example, looking at top ten city logos and comparing them with the Anhalt city ranking shows that the three world''''''''s top cities, Paris, London and Sydney, do not have well-known visual identity, while New York with a remarkable logo rank Fourth in this table. Another example is Melbourne logo, which leed to identification of citys among others, and has identified it as a single voice; frequent use of the sign in different organizations and situations has created a unified and memorable image of a city, which caused an increasing of 5% visitors numbers a year after its release. This effectiveness was accomplished while other plans and strategies intended; The Olympic Games in 2000 A.D. took place in this city and grew tourism by 6.7% a year later. Finally, it is concluded that if a city could get global attention through mentioned strategies and being remembered as a unique brand, it benefits different premium such as increasing gross national income through attracting tourists, attracting the creative class and other benefits consequently.

Calligraphy is one of the few traditional arts that, according to its geometric features, has experienced various forms and formats and while being one of the noble traditional arts it has been linked to modern contemporary art. Studying the works of calligraphy and its subset Nastaliq's Calligraphy, using the principles of Gestalt theory, has been paid less attention by researcher in the field of calligraphy. This paper analyzes the relations of the Nastaliq Calligraphy and its composition based on the process of Gestalt perception and has attempted to answer the following question: how can we use the principles of Gestalt theory to introduce a systematic method that allows us to measure different forms and compositions of calligraphy works with Nastaliq's Calligraphy? The data of this research are collected and classified through bibliographic studies of books, articles, treatises and available published pieces in libraries and museums, and evaluated by descriptive, analytical and statistical methods. The topic intended by Gestalt is the relation between the whole and the component and the preference of the whole on the component, and that a calligrapher how to change the gestalts and to produce a correct gestalt proposition in the structure of the letters and simple elements and the structure of the words in relation to each other indicates the pivotal importance. In this research, we show that the works of calligraphy of Nastaliq with the principles of Gestalt theory, such as similarity, proximity, continuity and Closure, can be analyzed, and these principles are in analysis and evaluation of the Nastaliq works in various formats, along with the foundations of visual arts complementing the twelve calligraphy principles. Therefore, to illustrate the relationship between the form of letters and the composition in the Nastaliq Calligraphy with the principles of Gestalt's theory, one sample was chosen from the three Chalipa, Siah-mashgh and the combined-component templates, and were analyzed using these principles; Since the perception of the audience of calligraphy works is mostly a generalist conception in accordance with the principles of Gestalt's theory. In the next step, using a questionnaire, a combined-component with four different gestalt was presented and by referring to a 100-member statistical population, assessment and comment were made. As a result of this survey, it will be determined which percentage of the audience of the Nastaliq Calligraphy  has a correct understanding of a good gestalt; The result of this judgment has shown that more than half of the calligrapher and non-calligrapher users participating in the survey, has chosen the same composition and gestalt which has been created by a well-known calligraphist from among the four different gestalt as provided by a single text, hence the two-way communication between performance and the evaluation of the calligraphic work is determined by the principles of Gestalt's theory. Also we came to the conclusion that to criticize a piece of calligraphy, it’s necessary to be used a combination of traditional and Gestalt methods.

Qajar era coincided with influence of west culture, art and industrial inventions to Iran. Some of these events derived from political exchanges, and inlet of new inventions and industries like printing devices, photography camera etc. and brought a considerable effect on Iranian traditional art. Lithography devices entered Iran after lead printing and was among industries that transferred the book designing practices to new emerging printing industry and changed it. In this paper, we try to compare two documents from Qajar era. One manuscript, and another lithography oeuvre and both are related to first decade of 20th century, layout practices in the transition from manual version to lithographic version are discussed. The author assumes that the artists involved in the printing at Qajar era, in addition to transition from layout traditions of manual versions, they transferred the image interests and Qajar ornaments to lithographic printing. The most important achievement of this era is stereotype of the idea and political goals and interest to symbolic images. Therefore Lithography had effected on the Qajar layout meanwhile by making stereotype from manuscript and traditional bookmaking too. The ornamentations of flower, leaves and arabesque designs, and images of crown, king, angel and geometrical divisions common in manuscripts and some written ornaments such as stamp assumed in the form of image stereotype in lithographic books and emerged in governmental documents by prevalence of lithography. These stereotypes have their origin in ancient era and old convictions and turned into symbol of culture and Iran history in Qajar era. In this paper, layout patterns and its ornaments have been analyzed in the transition from manual version which led to production of Qajar image stereotypes. This research is carried out in comparative and analytical methods, on the remained and available documents from the Qajar Age, with purpose of understanding the changes of Book Layout Principals, the changes which had been made on traditional methods since the Qajar age until contemporary age. For Understanding the method and style of design and Layout in Qajar era, from traditional style in transition to the contemporary time , by  Studying Two Qajar era Documents by Approach of Influence of Printing on Traditional Layout and Establishing Image Stereotype. Given the influences of lithography, it seems that one of the achievements of layout design in this era is creating clichés and symbolic figurative templates that represent people and political and governmental interests and taste and transferred   them to contemporary age. A lots of  ornaments have been taken from  manuscripts such as panels and borders and some of them depended to calligraphy art .Almost clichés was effected from Sasanian period with concepts of  power, for example Crown of kings, another of them pointed to power of God like angels or sun . The most achievement of stereotyping in Qajar makes connection within culture and politics in the other hand within Government and people, with effect from lithography publication. In this way lithograph had great effect to nationality as a intermediary of culture of pass time.

Veli jan Tabrizi, the famous student of Siavash Beig Gorgi, went from Tabriz to Ottoman by his will. According to the signatures of the veli jan from the seventies to the second half of the 11th century, he worked in Iran and Ottoman Empire. veli jan was educated in Qazvin school and played an important role in transferring the achievements of the schools of Tabriz and Qazvin to the Istanbul school. The veli jan, like Shah Quli (Saz style invented), learned the elements of the Turkmen and Tabriz schools in Tabriz and Qazvin, but in Istanbul, with a new composition of these elements, which was called  Saz style and a style that was popular in the Ottoman court, Compositions are not seen in the painting of the Safavid period. He played a major role in the development of Saz style in Istanbul's paintings. He was influenced by the evolution of the Istanbul School of Painting from the late decades of the tenth century, along with the painter Osman. He has been impressive, but his stylish works are not as delicate and prolific as Shah Quli's works, but because the continuation of this style is very much considered. In all of his works, the elements of the Tabriz and Qazvin schools are known, and his distinctive patterns can be distinguished, and perhaps his loyalty to the style of the Safavid painting has led him to be proud, which hinders further learning in the field of art. Among the several colorful and pen drawing of the veli jan, besides a few works that are commonly found in the painting style of the Safavid paintings, it shows the rest of the Saz Style features, in particular the fairy-tale group, the body of young women and men, and the leaves of the Saz, the images and the compositions Of the birds have a single style. veli jan paid attention to detail in his early work, but he gradually avoided this. Like the painters of the Tabriz and Isfahan schools, he was also interested in illustrating Dervishes. In the paintings in the albums, the name of the veli jan is written in various forms (Fig. 18) in the picture of the angel. The signature in the form of the "veli jan Pen" is written in a long line of suspension and authenticity is confirmed. In the image of the angel at the Jacques-Mart Andre-Paris Museum, the artist signed the "Veli Jan Ibni Qasem", and in the second form in the same museum, with the signature of the "Veli jan" with the suspension line, it was written only in different forms (clinging or separating). Among the signatures, the signature form of the H.2168 can be described as the usual signature of the artist. In this research, since this artist in Iran, as it should not be known, while addressing his character, the characteristics of his pictures, the errors that have taken place in the history of some of the works and proportions are being examined.

Many written documents and illustrations left from Ilkhanid period (medieval era) which called Tabriz school in art history studies. Tabriz school was flourished in the reign of Qazan Khan. Ilkhanid illustration covered various subjects like: historical, religious narrations, scientific and mythical issues. Main reason of historiography in Ilkhanid period could be, their interest in recording the conquests and tribal honors. These material considered as an important tools or medium for cultural and social studies of special period. One of interesting aspect of these studies is gender analysis. Pictures are full of symbols and signs which indicate to gender issue, specially placement or position of men or women in architectural elements. This position can show social level or importance of each gender in the society. This paper attempts to find out new ways of understanding relations among gendered Spaces in Ilkhanid period through analyzing the illustrations regarding to historical manuscripts. To this aim, Henry Lefebvre theories in Production of space considered as a base of study.  Production of space is a concept which introduced by him means that space is a social product that defines all social and political relationships. From his point of view visual products or works can set in the “representation space” class which point to the symbolic aspect of space. Two different class of written documents will consider: The Great Mongol Shahnameh included national epics and mythical history of ancient Iran and Jāmi’ al-tawārīkh is a narration of Mongol history. Methodology is based on two points: chronologically and classification of the objects. After Mongol invasion two ideological conversations happened in Iran between two different nomad and urban societies, Islamic rules alongside of Yasa. Lifestyle of Mongol was based on Yasa rules and nomadic method. Presence of man and woman in this society was equal. Unlike urban lifestyle with Islamic rules and urban spaces of social activities like Bazar or even in private spaces like palaces emphasized on limitations of presence of woman. Through this research, the conflictions and difference of gendered relations in Ilkhans era will come to the light. Illustrations of Mongol history selected from Jāmi’ al-tawārīkh manuscript from The Diez Albums. The Great Mongol Shahnameh miniatures scattered in different museums. Through analyzing the illustrations, two main spaces distinguished: Mongolian yurts and urban space. Moreover, other various public and private spaces depicted in these miniatures. As a result of the survey on representations of space and gender: on the illustrations of history of the Mongols, the role of women in various places is much more notable and bold. It shows women roles as a same level with men in all social activities. Whereas in the illustrations of Iranian history women depicted mostly as an observers of a scene and just looking out from the window frames. Also some other architectural elements like porch (Ivan), curtain and attic windows shows the presence of women. Indeed, the urban spaces and constructions represent gender segregation more than camp spaces or yurts.

The sanctity of footprints are rooted in history. Humans tried to preserve the memory of his existence in order to overcome the sense of the lack of someone. Objects, personal belongings and even quotes from the departed were considered sacred and were highly revered throughout the history. Moreover, several places are instances of “Holy Land” for at some time in the history an important figure attended there. For the Abrahamic and Semitic religions, Mesopotamia reminds of the Abraham and Imam Hussain, Palestine reminds of Moses and Jesus, Egypt reminds of Joseph, Hejaz reminds of the prophet Muhammad and Khorasan reminds of Imam Reza. Accordingly, sanctity of footprints has roots in the earliest stages of the history of thought and humans have always revered footprints of prominent figures and have looked up on them believing them to be the symbols of possession and power. This was the drive behind people looking for footprints. The world of Islam, Indian peninsula and Iran are abundant with footprints being worshipped. Likewise, footprints have always been highly regarded in the folklore of Iran. There are numerous places in Iran attributed to the footprints of a prophet an Imam or one of their dependents; yet most of them are not historically authentic. It is believed that some of these sites have survived from the pre-Islamic era and after Islam conquered the land, most of them transformed or stayed on in the history. The most famous footprint in Iran, however, is the footprint of Imam Reza and an image of it along with other symbols is found in the Falnameh Tahmasebi. This study aims to investigate the footprints in Buddhism, Islam and tries to use historical and literary evidence to find a decent answer to the questions like to what historical era does the onset of footprints date back? Do they have roots in Islamic culture? From what origin do the symbols in the Falnameh Tahmasebi come from?  The study is a historical, descriptive study the data for which were collected through library research and selecting prominent instances of footprints and their images throughout the world and especially in the world of Islam. In addition to tens of footprints across the world most of which are in the world of Islam. 34 footprints are identified in Iran from which eight footprints are attributed to Imam Ali, one footprint is attributed to Imam Hussain, seven footprints are attributed to Abbas ibn Ali, five footprints are attributed to the Khidr and the remaining ten are attributed to different people. The human need for the mythology and the assignment of special places to outstanding people has created the footprint culture among humanity and its signs are from cave to space. Studies have shown that the existing footprints either date back to the pre-Islamic era or were built after personal revelations. The image in the Falnameh Tahmasebi is drawn based on Buddhist samples yet according to Islamic symbols and has no relationship pf any kind with the Imam Reza Footprint in Nishapur.

Cultural posters like other posters, are applying different sign system in order to transfer their message to addressees. Basically posters that be selected in this article, applying different system of signs, in order to transfer massage to addressee. Senders, in frame of aesthetic discourses, so articulate signifiers of their massage that the time of understanding of these discourses is postponed and be showed hegemon cultural-political discourse. Posters that studied in this research, be selected from Tehran posters early at 1380s and is based on discourses that signifiers within them, in addition to play signifying role in its own system of signs, with attending to context, simultaneously playing different role in other system of signs. In other word, signifiers in these optical discourses will be connected to several signifying systems. In this article, along with considering to challenge between these system of signs, with a comparative-discursive analysis, hegemon discourse in Tehran posters early at 1380s, relation between selected posters and discourse, factors that effect on them and difference of these posters, will be known. We hold that who send message of these cultural posters, combine signifiers of their iconic text cleverly in order to be postponed the time of understanding of their message, because this understanding obtained with decoding of this sign systems through semiology. Posters that selected in this article, comes from in Tehran posters early at 1380s and are discourses that their signifiers in addition to their special signification, signifies in other sign systems. This article pays attention to challenge between these sign systems that located in written and iconic text and analyses relation between written and iconic sign systems. This analysis be done on the base the methodology that comes driven from Saussure`s and Peirce`s approach to semiology. In this research framework posters analyzed as pictorial texts that constructed from combination of symbolic, iconic and indexical sign. Signs in Peirce`s semiology will be symbol, icon and index. In iconic signs, the signifier is connected to the signified through the principle of resemblance, in indexical signs, the signifier makes you think of the signified because the two are frequently physically connected in the real world and in symbolic signs the signification is on the base of contract. The finding of this semiotic analysis of Tehran posters early at 1380s shows that the writing would be more prominence beside posters and sometimes has central function in these posters. Actually this characteristic of the period that is studied in this article, is result of a process that starts from 1370s. Application of typography in posters, starts from 1370s, and in 1380s develops. In this period, writing applied as pictorial signs beside posters, without regarding to this fact, that this writings maybe unreadable. Considering to this process in Tehran posters early at 1380s prompt that this writing regarded as iconic signs and system of writing transform to pictorial system and understanding of posters in the framework of semiology postponed. This transformation ma Although this transformation doesn’t remove signification of the written signifiers.

The audience's perception of the work is the culmination of the contact's interaction in the art system in which the audience achieves its understanding by assessing the work. Before the process of interpretation, the paraphrasing of the work, readings are made: Reading means the discovery of hidden message effects. In an attempt to construct a coherent concept of the work, the audience chooses elements of the work and organizes in a coherent whole such as presenting the narrative of the work. Audiences have different receipts in dealing with artwork. The initial assumptions in the perception of the work create a framework in which the next contents are interpreted. It's interpretation lead to the perception and understanding of the work. Past experiences of the audience, level of education, and gender are effective in reading works. The act of perception always begins with the prior knowledge and we associate new thing with what we already knew. Accordingly, the research hypothesis is that the male have abstract approach and female have a concrete approach photo reading. In this paper, with the abstract/concrete reading, and at a level beyond the interpretive / paraphrasing discourse, the exposure of the audience with selected photographs from NioshaTavakolian, GoharDashti, Ehsan Bagheri and Creative Photography Magazine have been investigated. By examining variables such as gender and education in reading and interpreting the audience from the photo, one can differentiate their views into two levels of interpretive (abstract) reading and paraphrasing (concrete) reading. Since among different arts, photographs have become more popular among the general public than visual media, and it has been used as a measure of research variables. The research method is qualitative and is used to study and categorize readings using the focused interview and gender approach. First, the concepts of reading, interpretation, paraphrasing, and narration as readings are discussed, and then the differences between the views of female and male and their relation to the readings and narratives of the photo are referred to, and finally, the narratives are separated which obtained from Focused Interview. Considering that in the Iranian society, women and men have different living experiences, so their views and way of dealing with phenomena such as pictures are different. Education is also effective in interpreting and paraphrasing audiences. Women use readings more than men to interpret and paraphrase. Women and men used different tools and narratives. Women initially start with emotional words and phrases, such as addressing the subject's feelings of a photo, explaining the meaning of photographs in the form of emotional descriptions and even after finding meaning, in most cases, in order to better understand the narrative of the photo with the focus of emotional criteria, they use abstract concepts, in such a way, these emotional descriptions confirm their abstract descriptions. In contrast, the men, in the face of a photo, they first seek to discover the distinct symbols and semantic codes that appear in the external photo and then by creating the rational ratios between them, they try to discover the meaning and interpretation of the photo.

The word “model” was used in art circles for a person hired by a portraitist to sit or stand in a chosen position in order to be painted or drawn as part of a larger composition. The rise of the bourgeoisie in the 19th century was accompanied by the borrowing of some of the peculiarities or characteristics of the aristocracy. Acquiring one’s own portrait was the most distinguished of such practices. Gradually, the bourgeoisie stabilized their rank in society and considered that they fully deserved to be the subject of portraits. Full of their own sense of legitimacy, they placed their orders with painters or sculptors, and became the models of such artists, but now with a twist: the dominating position had changed hands; they had gained the commanding position! But did not the painters and sculptors have to bow to the whims of their patrons during the reign of the aristocracy? No doubt, and so their resentment can be put down to the social levelling that conferred equal status upon the artist and their “model”, the artist and their bourgeois patron. Furthermore, as French historian Édouard Pommier points out in his Théories du portrait, “Portraiture is not only the representation of a person, it also testifies to their distinguished career, their glory […] an exemplary life, worthy of imitation” (Pommier, 1998: 25). Could a painter who shared this artistic approach bestow upon his bourgeois sitter a glory that he found lacking, or that had yet to be won? Under the new circumstances, where both artist and patron were considered “citizens”, the greater social status previously attributed to the sitter’s appearance, was now void, meaningless. Furthermore, the artist was no longer able to treat his model in the way he wished, as a hired hand; it was no longer the case that the artist acts as commander and his models obeys him. Therefore, prior to acquiring considerable fame, and according to his exact social status, the bourgeois customer held a position between that of the traditional docile model and that of the patron who commands. To comprehend the position of this “model who gives orders” in the 19th century, we must first delve into the etymology of the word “model”, and then investigate how portrait painters and portrait photographers used that term. It is interesting to note that although photography had been officially declared an invention in 1839, most of the dictionaries published in the 19th century referred to the word “model” only in relation to sketching, painting and sculpturing. One possible reason for this omission was the delayed acceptance of photography as a “legitimate art”. However, in spite of this omission, the word “model” was abundantly used in the literature of photography that appeared during the same period—but with a twist: the clientele of photographers were called “models”. After examining a few hypotheses to discover the acceptance of this term by the photographers’ guild, a new definition of the “model” is presented in this article.

The prototype is one of the most important tools in design criteria. Some experiences show that prototyping can do the critical role in design process but the functions of this tool missed in amateur`s design projects. There are deep studies about prototype and it`s functions but it seems the leakage of knowledge yet. As a description, every physical presentation of the solution is a prototype. Without any attention to the quality of a prototype, this tool can use in a lot of ranges and levels of fidelities. This potential makes a wide range of possibilities for prototype use in product design. This study focused on prototype functions in a real product design project in med design criteria. The purpose was describing of different aspects of prototyping with level by level study of prototypes uses. The designing of an ECG was the case study issues. ECG is a device for understanding of any arrhythmia in heart rate with printing ability of these arrhythmias. Some Iranian companies can manufacture this product but this case had most professional technologies compared to rivals. Different types of prototypes had used in product design steps. The prototype of earlier step made from real parts of product and different assembling of those together. This level of prototyping caused faster decision making and select an appropriate combination of product parts. Communication through this representation and finding a common language was very easier than speaking about what should be happened in this project. The second step of prototyping made from a part of polystyrene foam. This prototype tried to break the false idea to leave the fixation that acquired in the design process. After this step, the employer left the early form of product and design team start a different combination of parts through a new metaphor of form. The two prototypes of next level had different tasks. One of them was a paper prototype of a suggested interface of some pages of product software and the other prototype was a low fidelity prototype of product body that made by CNC machining. The purpose of these prototypes was presenting of main solutions and core idea without any details to get some feedback from users. After this step and got feedbacks about the concept, detail design, and some reforms don. The final prototype made by rapid prototyping methods and after assembling of parts, this prototype tested with users. This step of prototyping as high fidelity sample shown well feedbacks and got the positive response from users and employee. Discussions about this process revealed some results as, the using of a prototype in every when of design project has good results, the purposes of prototypes are different, the fidelity of prototypes are related to their goals, prototype can use as a media, prototypes break fixations, and creation of prototypes is an iterative process. The future studies can study more local projects to find other aspects of prototyping in the design process. We suggest to using of results of same studies in Industrial design curriculum modification.

As many international health and rehabilitation institutes have declared, disability is an undeniable part of human life and almost all people temporarily or permanently will be impaired at some point in their life. Disability is a universal experience with economic and social costs to individuals, families, communities and nations. Accordingly, Universal Design, as a Design approach, refers to broad-spectrum ideas meant to produce buildings, products and environments that are inherently accessible to older people, people without disabilities, and people with disabilities. The center for Universal Design at North Carolina State University expounds seven principles for Universal Design as: Equitable use, flexibility in use, simple and intuitive, perceptible information, tolerance for error, low physical effort, and size and space for approach and use. According to the Universal Design mentioned principles, creating appropriate spaces and infrastructures in cityscape without any discrimination in use for all segments of the society, is one of the necessities of socially sustainable city. This kind of cities, are accessible and are responsive to all citizens’ needs and are welcoming to all people regardless of their limitations and disabilities. Based on official statistics and the same as WHO declared for whole world, in Iran notable amount of population have partial or serious disabilities and most of them have significant problems in city scape for satisfying their basic needs. With these in mind, the aim of this study is investigating and documentation of problems, needs and wants of people with disability in Tehran city parks in order to adjust the parks, their playgrounds and equipment appropriately with their limitations by Design thinking process. Also based on the extracted needs and problems, some design guidelines for urban parks were developed and declared in this paper. To achieve the intended objectives, the field studies and collaborative methods such as observation, ethnography, questionnaires and body-storming was used. The mentioned methods helped authors for deep understanding of needs and requirements of people with disability for equitable usage of the city spaces and its equipment. The obtained results of this study showed that psychological and mental problems for people with disability which is resulted by their absence in the public area and consequently their huge wasted free times inside their homes, and also the discrimination in access and usage of the urban spaces and playgrounds are the most important problems of people with disability in cityscape which could be resolved or reduced by design thinking process. The results of this study, categorized by authors in four main categories as mental health problems, way-finding issues, access needs, and easy usage requirements which are presented in this paper as a graphical model. The mentioned outcomes of the study could be used as an input via other designers and help them in order to design and develop some Design projects for people with disability in urban parks by universal design approach. For satisfying this aim, the mindset change between National City executive boards is necessary from designing city for just an average men or women, to design it for all.