مجله منظر
پیاپی 35 (تابستان 1395)

Being able to benefit from natural resources, Māzandarān has been historically known as an appropriate place for making gardens in the past centuries. This region became a significant place for hunting for spending the winter time during the period of Shah Abbas Safavi, when numerous gardens were built in these areas. Therefore, multiple gardens were built in Sari, the political center of that period, which are currently abandoned for not being acknowledged and consequently due to ignorance, erosion, urbanization and integration of gardens and cities and their functional changes. Few traces of Māzandarān gardens are found today and no extensive researches on these gardens are studied. Deep understanding of demolished Māzandarān gardens and recognition of their prevailing pattern can intensively help us understand the manmade landscape and lead into a major step forward in recognition of Iranian garden. This study aims at recognition and finding of the structural pattern of Shah (king) garden in Sari based on historical documents and field investigations. In this regard, historical documents, texts and statements of travelers about the garden were put into scrutiny and the garden structures was discussed in the next step based on historical photographs. Having analyzed and drawn the probable outlining plan of the garden on the basis of historical documents and principles of Iranian gardens, it can be indicated that the Shah garden had a regular geometric structure with two main interfacial building across the main axe of the garden. Following the made interventions during the first Pahlavi period, the current Khayyam Street was created in line with the main axe of the garden and turned into a major urban street. This was completed by different constructions along the double sides of the garden axis by people and finally formation of residential neighborhoods of old Shah garden in this part of the city.

Companies and organizations which provide products and services using standardization and quality control methods attempt to develop a conventional and repeatable level of experience for their customers. But, it is not possible to examine the target when the basic variables associated with the issue are uncontrollable or highly objective-subjective. Tourism services are multilateral issues affecting communication among tourists, workers and the environment providing services, therefore, it bears multiple aspects of subjective, objective and subjective-objective considerations. Branding was introduced to management literature of tourism organizations with the same purpose and is oriented to determine the direction of positioning and imagination in customers’ mindset before experiencing any tourism services. Although considering servicescape and branding in tourism organizations are accounted as a solution to promote competitiveness and to overcome existing challenges in providing services, there is a human link missing which needs further exploration. The human factor and internal branding program are two issues which can be considered as the missing links servicescape and branding. This paper is aimed to recognize what internal branding within the tourism corporates to improve servicescapes by using library studies and reviewing theoretical foundations applying expert's opinions and author’s experiences.

The urban landscape is the main influential factor in the citizens’ mindset about a city. Communal spaces are the most significant subsidiaries of the urban landscape as a basis for the formation of citizen's collective memories, and almost all the criteria which qualify the urban life are visible in these spaces.
In this paper, the lack of public and collective spaces in the dense areas of Tehran’s center has been emphasized. Then according to the principles of infill development, the suitable land use for endogenous development will be discussed. In the end, the area of administrative offices placed in the central contexture of Tehran is examined as an option based on endogenous development for infill development projects and shifting to semi-public space. Ownership, incompatibility in the usage of contiguous lands, and management practices in semi-public space are explored as three outstanding issues. In this research, descriptive and analytic methods and also library studies have been used.

The present article is the text of a lecture by Dr. Nathalie Blanc, geographer, at the conference of "Art, city, nature" which is publishing with a bit of summarization. This conference is the eighth meeting from a series of meetings with the title of "Phenomenology of urban landscape" which is held in the 1st of September 2016 by Nazar research center and with the support of Beautification Organization of Tehran.
Nathalie Blanc is director of research at CNRS and director of LADYSS. She also teaches at the University of Paris 7-Diderot. She is specialist in the themes of "nature in the city" and "environmental aesthetics".

City is the most comprehensive collection of human achievements in history, and the result of human activities in the fields of culture, architecture, industry, art, social relations, knowledge, ethics and politics. Urban landscape therefore, is capable to explain quality of the relations among these areas and convey their meanings in urban structure. Urban arts undertake a significant role in the advent of urban landscape for instance in social, economic, cultural and political contexts.
The present study is conducted on the assumption that art, as one of the richest and most diverse spiritual capitals of societies, is able to influence the creation of human-oriented landscape in cities. An analytic-descriptive method is used to answer the questions of "what" are the applications of urban arts in urban landscape, and "how" wall painting can help to achieve a pleasant and human-oriented urban landscape.
The results of the study shows that urban arts influence both subjective and objective approaches of the urban landscape and the potentials of this art is effective in the fundamental features of urban landscape as "readability", "identity" and "beauty". Ten functionalities of wall painting have been detected, which are involved in achieving the characteristics of a pleasing urban landscape. Wall paintings are more effective in readability and identity possession of the urban landscape than the urban beautification. This reveals the in-depth and lasting influences of wall painting on urban landscape, which is indicative of applying the effect of art on mental layers through the city's appearance.

The concept of beauty has been always an important concern for philosophers and scientists. In recent decades, landscape aesthetics as an effective approach in recognition and understanding the environment, has played an important role in landscape literatures. Therefore, recognizing different orientations in designing landscape aesthetics and indices for preferences in aesthetics have been considered necessary for studying in this field. This paper has started by proposing this question: what is the ratio of indices of environmental aesthetics in urban landscape. To answer this question, it can be proposed that, through formulating the aesthetic indices, a model to understand the beauty of the environment based on its constituent components can be achieved.
Methodology of this study is qualitative and the literature in the field of urban landscape aesthetics have been studied through library studies while aesthetic indices were achieved using logical reasoning and studying relevant resources.
Furthermore, different approaches in urban landscape aesthetics have been studied and analyzed in this paper, in order to find a meaningful relation between indices and respective approaches. In order to suggest a conceptual model, four main keywords were identified that indicate on urban landscape aesthetic, including: sensation, understanding, conception and aesthetic judgment. Finally the suggested model suggests aesthetic of urban landscape include four stages: study of objective elements in urban landscape, study of organizational factors of elements that lead to excitation potential, study of intellectual property derived from environment and study of aesthetic response of human to the environment.

Garden Sculpture is one of the most complete examples of interaction between art and nature that has a history in the West and European culture that its classical form dates back to ancient times. After modern times, Garden Sculpture is being considered as a new kind of environmental art that manifest the relationship between human, nature and landscape. In Tehran, following the Qajar kings travelling to Europe and experiencing the presence of sculpture in urban space, specifically in public garden and parks, sculpture, as a kind of public art was entered to the urban space and in somehow was emplaced in private garden of Qajar era as a symbol of renewal. Meanwhile, the gardening in Qajar era that was the last efforts of Iranian gardening, gradually replaced by European garden confronting with the fundamental changes in western-style urbanizing patterns. During the Pahlavi era, by getting empowered the stream of modernization patronizing, the reviving of park building according to western-style and on the other side the presence of sculpture in urban spaces were increased, but no artwork resembling garden sculpture according to its original meaning was made in city of Tehran. After nearly a decade of the Islamic Revolution, gradually the numbers of urban sculptures have been increased and although the thought of emplacing a set of sculptures in public spaces has been resulted in implementation of the idea, in number of parks and green-space areas including the green area of Tehran Museum of Contemporary Art (TMoCA) and the garden of Iranian artists forum, but it seems the urban artworks of Tehran are still away from the original structure and concept of garden sculpture.
This article is seeking to answer the question of why garden sculpture, failed to find a place in Tehran urban space, after almost a century; and concludes - by accepting the idea that garden sculpture has been a kind of art work along with the tradition of gardening and also is an artistic expressing of people relationship of each land with nature -that by replacing garden with park and destruction the context of forming garden sculpture, it seems that we have never been successful in Iranianized this imported phenomenon and having garden sculpture with an Iranian identity.

There is a broad consensus on bringing nature back to cities. Environmental issues and their rising challenges in the world have encouraged theorists and practitioners to adopt a broader perspective to “City in Nature”1 and consider it as an entity. In this respect, three general objectives are pursued: a) the protection of resources that nature provides human with; b) responding to aesthetic ideals of citizens; and c) accreditation of urban spaces. The natural resources of Tehran have been the issue of much debate and bringing nature back to the cities are of great importance. To this purpose, the urban management has taken some measurements. Though the approaches for the interventions impact theaestheticizationof urban areas, our knowledge about the issue is scanty. This paper is an attempt to address this gap and contribute to our knowledge of nature-based aestheticization.

City natural Landscape identity Lighting can improve nightlife quality. Recognizing urban identity elements and their appropriate lighting is an urban Art. Natural urban elements have personality because they participate in constructing collective memory. The most important natural urban element in Tehran is tree and Valiasr street sycamores are the most characteristic of them. Preserving the character of Valiasr sycamores in lighting for maintaining day and night view can be obtained by implementing aesthetic points. Most of the visual aesthetic points are adaptable on lighting, because lighted night view like a painting has the energy of elements such as Line, point, surface, texture and etc. that made by light on night black background. Like painting, controlling these elements along with the background can cause different Expressions of the same subjects. Studding the role of aesthetics in maintaining the figure of visual urban elements and improving night view is the goal of this study.

One of the challenges against sustainable development is to attain the patterns for interacting between man-made environment and nature. Sustainability tries to provide a series of concepts and instructions which leads to better interaction between abovementioned factors. Sustainable landscape design is generally understood in relation to three principles: ecological, social and economic sustainability. Rarely do aesthetics factor into sustainability discourse and it is considered as insignificant value. However, it seems that landscape as a cultural phenomenon requires concepts further than merely ecological needs for obtaining sustainability. More ever, aesthetics aspect of a landscape helps to increase knowledge of environmental sustainability by affecting human consciousness and individual emotions. This article is going to evaluate the aesthetic aspects of sustainability and its role in sustainable landscape. In this article four principles of aesthetics in sustainability is introduced which are followed by practical instances.

The eighth meeting from a series of meetings in urban landscape phenomenology advanced studies by the title of “Art, Nature, and City” was held on the 29th of August in the Museum of Contemporary Art in Tehran aiming to identify the intersection of art, nature and city, understand art as a catalyst for the presence of nature in the city, make awareness of global achievements from the interaction of art and nature within the city, and assess the environmental art status. In line with this meeting, a specialized round table was held with the presence of Dr. Nathalie Blanc professor of the University of Paris Diderot-Paris 7, scholar in the field of social dynamics and space recomposition, and research director of LADYSS lab and also Dr. Seyed Amir Mansouri, head of landscape architecture department in Tehran University, and the manager of Nazar Research Center for Art, Architecture, and Urban Planning.