The Aesthetic Experience of Urban Art Analysis of four experiences in Tehran based on the John Dewey's Valuation Theory

The entry of art into the daily life of societies remains today as a major common issue between artists on the one hand and urban actors on the other. The crossing of different forms of art in urban environment therefore remains the nature of art which enters the scene with an objective of creating beauty and by accepting this affirmation, it is thus formulated that the multitudes forms of art in the city, seek to aestheticize the urban in order to achieve their objective(s), although these objectives may differ for each form. Consequently, the hypothesis would be that urban art will not have achieved its objective(s) and will be marked with success with the user only when opening up to a grasp and a perception leading to the realization of an aesthetic experience.Thus, considering urban art as a power for the realization of an aesthetic experience in an urban environment and as a device for evaluating the urban landscape, what will be the criteria and indicators to be defined in order to develop a method for evaluating the quality of the realization of this experience and the amount of valuation of the urban landscape in the user's perception?Based on the theoretical trio of art-urban landscape-aestheticization, the research develops theoretical definitions likely to establish tools for the analysis of urban interventions. Based on the concepts and approaching them from a variety of angles, "criteria" are generated which, in turn, assess the feasibility of the aesthetic experience through "indicators". With a view to a realistic understanding of these theories used and of the method developed, four cases are selected in Tehran whose dimension, local situation and spatiality are entirely different; for study and analysis of the framework for achieving the aesthetic experience in an urban environment.