مجله جلوه هنر
سال هشتم شماره 1 (بهار و تابستان 1395)

Theater buildings are among the oldest gatherings places which were made by Greeks. Throughout their history, based on developments in technology and construction and motivational features, these buildings has been manifested as a developed form of their previous models. This paper attempts to study the similarities and differences in theatre, amphitheater buildings and stadiums in technological era. The research method is analytical and comparative and for data collection, a documentary and library based method is applied. The purpose of this research is to investigate the formation roots of such buildings in Greece, then their technical developments in Ancient Rome and finally their transmutations in today’s stadiums. This research aims at indicating the motivational characteristics of such buildings as well as the reasons for their emergence. For doing so, first the features and motivations for constructing Greek theatre buildings as well as their architectural characteristics as a base in formation of amphitheaters and stadiums has been studied. Although Romans were inheritors of Greece art, due to the development and finding of new materials and also hidden differences in roman society, the features of such buildings was developed which led to the emergence of amphitheaters .the completion and continuation of this process acted as a mediator for formation of today's buildings. Finally today's stadiums which were constructed after The Industrial Revolution is investigated as the continuation of formation process of amphitheaters. It's noteworthy that although, as a motif, these buildings used roman structures and patterns, the emergence of new materials and application of new sciences has made these building quite different from the old ones. In general, here the research subject has been studied from two perspectives: motivation and formation technics by referring to famous and significant examples.

The research problem is to investigate the effect of creativity phenomenon and the relationship between using computer, digital techniques and creativity in commercial printed advertisings from1370 till 1386 (1991-2007) in Iran. During this time, digital techniques were vastly used in advertisement design.
The main research questions are: what is creativity in advertisement design? Did the use of computer and digital techniques have any effect on creativity in commercial printed advertisings from 1370 till 1386? What is the related effect on audiences in Iran?
This paper attempts at examining the creativity criteria through library researches. Then based on the statistics collected from 60 cases of commercial printed advertisings participated in biennium from 1370 to 1386, a field study was carried out. At the Next step, the accuracy of findings was examined through 480 questionnaires.
The purpose of this research is the identification of creativity criteria in advertisements and consequently to examine the effect of digital techniques on creativity in designing commercial printed advertisings in this period.
Finally, it has been concluded that there was no significant/meaningful relationship between digital techniques and the emergence of commercial printed advertisings from 1370 till 1386 in Iran. Although these advertisements were well designed and aesthetically pleasant, they are mostly not motivating and they don’t communicate with audience.

This paper studies the function of carpet industry in rural economic development in Vezvan County in the state of Isfahan, Iran. In this regard the spreading role of Handicraft industry as a sustainable economy is been considered too.
The importance of this activity and its role in economic development for creating job opportunities has been investigated comparatively with related models in developing countries such as India and China.
Economic developments in above mentioned countries as leading progressive countries is being reached on the basis of relevant knowledge and rural technologies in the employment region as an asset and its appearance as a role in the process of considerable developments.
The presence and the acting role of rural women in the northern part of state of Isfahan has been considered too .the research method is descriptive-analytical and the main purpose of the research is to indicate practical strategies and models.
The results are indicating that the plan of creating jobs or employment creation by these rural women in the field of carpet industry has approached the enrichment of the said economic developments in that region; where the major economic developments and expansion of handicraft industry has reached the overwhelming number at the value of 80%.
This approach as a trend to development is in the same routine that China and India used to heighten and improve their position in the world’s economy as a reasonable high standard one.

The current world is transitioning from mechanical and analog technology towards information technology. Smart technologies will be used in many products and devices in the future. Because of this, there is a fear in the marketplace of losing potential costumers due to this transition. Many of these costumers are female, but a masculine-oriented perspective still dominates the design and manufacturing of interactive products. Some leading brands in the “smart device” market (e.g. LG, NOKIA, Danfoss, Grundig, and HTC) have focused on feminine values in their design activities to benefit from the opportunities in this large market segment.
Female Interaction is a powerful and dynamic approach in design which has been founded based on user research, user profile, and scenarios of using products. This conceptual framework can also be used as the principle and structure of icon design and graphic design. Collaboration of researchers, businesses, designers, and marketers has provided the opportunity of using this theoretical knowledge for effective practical solutions in product design and development.
This paper attempts to represent the findings of Female Interaction team for design, development, and selection of models and manufacturing process.

Iranian carpet is always a place for manifestation of many different motifs. Each of these motifs has benefited from the emotion expression of designers or weavers. They have been influenced by social life, rituals and cultural tendencies and that's why they carries numerous concepts such as Heaven, immortality, Good and Evil. Among different motifs, there is the pattern of Sun (depicted as a female figure) which has an ancient history and has been used frequently in carpets in different form such as fragmental and round and in different places on carpets. This pattern has been used by different weavers in different cities, villages and even by nomads.
In this research, the reason for using such motif (so called: Mrs.Sun) in Iranian carpet has been studied as the most important purpose of the research. For answering the research question, first the status of sun and woman which were combined in concerned pattern is studied and analyzed in different eras of Iranian culture, both before and after Islam. Then by studying concepts of this motif, its position in carpet, its associated meanings and imposed impacts from different areas has been emphasized too.
The research results indicate that although the motif of sun has a decorative and figurative function in carpet, it refers to spiritual and symbolic concepts such as divinity, power and sublimity of God too. The research method is descriptive-analytical and through field research and library based method the data has been collected.

Transformations in the present century cause developments and changes between the manifestations of life and culture in Iranian society. The traditional architecture and its trends were underestimated and on the other hand due to the occurrence rate of these transformations, there is no opportunity for adaption of these changes with culture of society. While developments in European countries occurred step by step and to a large extent the changes were easily replaced. For the revival of our original culture and architecture, we need to recognize its major factors so it can continue to exist. Architecture is not just a collection of styles and forms, and it doesnt completely specify its own social and economic conditions, but it comes as a set of them. Architecture as a communication system interacts with culture and for receiving its inner message, the cultural context in which that architecture is formed should be recognized and studied. Otherwise, its messages cannot be well perceived.
Tehran Museum of Contemporary Art is an outcome of the combination of concepts related to origins and principles of a modern approach to architecture from one side and the most inner layers of an Iranian architecture thinking as well. This research aims at studying and analyzing Tehran Museum of Contemporary Art in terms of the relation between culture and architecture. The research method is descriptive-analytical and by using different websites, related books and a field research method the data has been collected. At the end by applying intuitive and inductive reasoning, a general conclusion has been inferred. Analysis indicate that some original concepts of Iran's culture and its traditional architecture had impacts on the design of Tehran Museum of Contemporary Art both directly and indirectly and these ideas were correlated in a way in the concepts of the building's construction.

One of the great transformations in human history is undoubtedly when the human beings observed that they could change the nature of materials – as a piece of soft mud could be changed to a hard stone by applying fire to it. Ceramic material is the first result implied by changing the structure of inorganic materials that clay makes with 3 other materials of water, air and fire. This compounded alchemy has caused the creation of various plans and designs during the history and it can be said that it is the oldest art continued up to the present time. The evolution of ceramics has not only been in the decorations, various forms and structural methods and techniques, but it has also caused changes in the concept and contents of works during prolonged periods.
We are observing the works by artists, in the 2nd half of the 20th century and in 21st century, that indicate a meaningful approach towards this artistic technology. Hence, this paper deals with searching into the works of artists who have had deep considerations towards the secrets of the deformed clay, and in fact, the study of the material identity and its potential in creating artistic works, and also a kind of deliberation towards the world and the power of clay are observed in their works.
This paper indicates the state of impressing the relation of human beings and other creations with clay, by the contemporary artists. Moreover, imagination and impression of thoughts on clay, indicates that any works created by clay reminds living creatures such as human being, who one day used to live and now has transformed to clay. It is the case, formed by western contemporary artists, in different artistic frameworks including installations, performances, etc. that has been analyzed in this paper. The evolution felt in such works shows that not only the artistic work, but also the used material has found a specific expression and it is the clay itself that sets forth as an intermediate to attract the addresses attentions. In other words, the relation between the artistic work and the used material in creating the work is properly formed poetically.

Although Iranian hand-woven fabrics have an ancient history, the peak of its development and growth was in Safavid period when the business and market of Iranian fabric weavers was flourished. Unfortunately this art is going to be forgotten. The excessive import of foreign fabrics and change of fashion stream has affected the hand-woven fabrics and the employment of artists in this art-industry. The purpose of this research is the design of workwears based on Iran's traditional hand-woven fabrics in order to introduce and promote hand-woven products in handicrafts and providing some kind of principle in the management of concerned organization. In terms of research purpose, it is a practical one and the research method is descriptive-analytical and by using a field research and library based documents, data has been collected. The subject importance in this paper is to development and spread the hand-woven fabrics in society and distribute a kind of clothing which is intertwined with dominated norms and values of the society. These products contain culture, history, geography and costumes of one nation and at the same time they act as a strategy for job creations in which this art-industry will be no longer a merely abstract or artistic issue and will turn to a practical and money making issue.
Based on a time-place categorization of clothing design and with attention to prosperity of hand-made products, this research studies workwear clothing with having a social function. When a cloth uses by all the members of an entity, it makes the members to be identified more easily by themselves or by others outside of that organization. Based on the priority, first the designing of the workwear of Cultural Heritage, Handcrafts and Tourism Organization has been done. Results indicate that most employees reported that as a response to the new form of workwear, most clients were satisfied and expressed that there is a kind of principle in the concerned organization.