فصلنامه هویت شهر
پیاپی 34 (تابستان 1397)

This paper encourages a new approach to reconsider the current attitude towards creativity in the theories of the creative city, creative industries and creative economy. This reconsideration is necessary, because there is a threat that the individualistic and physiologic approach now arranges the concept of the creative city over any further exploration of creativity and its wider role in the economic, social and cultural environment. Creativity is shown as an issue in the domination of talented artists and geniuses in the theories of the creative city. This individualistic approach leads to ignore the social dimensions, levels, and functions of creativity. However, creativity is increasingly assumed as a social phenomenon in some studies, especially in the context of social groups, organizations, and city. An integrative review of the literature reveals that the engagement in creativity processes occurs not only in individuals, but in individuals interacting with each other, in group and team works, multilevel systems and finally in complex systems such as cities. There is a need to re-conceptualize creativity as a social phenomenon, resulting from the interaction between human beings and other people, their surrounding environment and the artifacts that represent essential collective knowledge. This article offers a conceptual framework for the main processes of social creativity that integrates perspectives from a body of related literature by using a conceptual map. Criteria for social creativity in the context of urban planning can be categorized into three general categories as contextual factors, sustained everyday practices and conscious activities. The most basic requirements of social creativity are the suitable contextual factors (a set of historical, social, cultural, and political conditions) and the existence or creation of motivation in society. Social creativity in urban planning context requires a paradigm shift and change of approach toward creativity from individualistic (physiologic and expert-based) viewpoint to holistic (sociological and people-based) approach. This paradigm shift plays the role of creativity in the larger domain of urban planning discipline and thus the literature of the creative city theory provides the basis for considering it as a social issue. Creative urban planning requires a collaborative, facilitative, and participatory process based on the discourse making among different stockholders and provides the possibility for the local society to accept the role of experts in the process of urban planning. Therefore, this paper discusses the relationship between individual and social creativity and analyzes the need for the social approach in the urban planning. The paper also suggests an agenda for re-qualifying the creative city theory according to this fundamentally social conception, including how this can be achieved through implanting a new concept of social creativity. The findings include a conceptual diagram which shows the analysis and interpretation of the relationship between actors and social creative process, context and the results of creativity. Social creativity requires social action and adopting process-based approach to urban planning, promoting dialogue among actors, participation and everyday experiences. In conclusion, several proposals are offered for the application of concept in the theory of social creativity and creative city.

lief and faith are key factors in architecture, whether in forming the human beings lives or its role in their spiritual dimension. Thus, architecture is the body that belongs to human's thoughts and beliefs; therefore where ever a major artistic creation with traditional nature has been observed, there should exist a live traditional thinking. So in order to recognize the mystical and philosophical ideas that their peak was represented in Safavid era which is known as the golden age of art, we have to enter through the gate of Islamic arts philosophy. Transcendence and imminence as the subject matters are one of the ways to find out and comprehend the philosophy of art and the beauty of Islam, but the important point about these subjects is the dual structure of transcendence and imminence. Due to the dialectic between these two - transcendence and imminence- (Throughout the history of Islam) and while they have separated features, only it can be possible to figure out their complementary feature through their unitary vision. Of course, such duality that the universe is made up of one whole which is composed of two obvious and inseparable elements, has been seen in different religions, like "Yin and Yang" in China. As mentioned in Islamic sciences and in an initial classification about God and the universe, two words are in common; Transcendence and imminence. The transcendent philosophers do not consider any human traits for God and in contrast there are imminent mystics who define imminence as the attribution of human traits to God. Going out from this conflict is only possible through unitary vision of transcendence and imminence. This vision which is attributed to Muhiddin Ibn Arabic, considers the summation of transcendence and imminence in order to God's cognition. Since mosques (central) are the most effected places by beliefs and thoughts of their time, they are chosen as the typical examples for reloading the transcendent and imminent ideas. For this purpose, first quantitative and qualitative criteria of transcendent and imminent shapes in architecture were extracted. On the other hand this means that in architecture, components of imminent shapes correspond to transition, dynamism, transparence, transfer, static, sublime and establishment; and components of transcendent shapes correspond to void, centripetal, symmetric and balanced spaces. Then in order to recognize the transcendent and imminent aspects, all the skeletal shapes of Imam Mosque, like the system of entrance, yard, porch and dome were measured and evaluated with these criteria. The results of this measurement were the dominant imminent aspects for transitional and motional shapes like entrance and porches, and the dominant transcendent aspects for mosque's yard as the static, void and centripetal space. But the balance of transcendent and imminent ideas can be searched comprehensively in the architecture of dome, where the void atmosphere (negative) and the tangible positive atmosphere (surrounded the environment) have been defined and the static and centripetal and in a same time dynamic, connected and transitional atmosphere (vertical) toward the God can be understood, observed and perceived.

Many buildings experience demolition while a significant part of their physical and structural life is still remain. Such buildings usually became abandoned before the end of their physical life as a result of various factors, such as the inability to meet the new requirements and expectations. In such circumstances, adaptive reuse can have significant benefits compared to demolish and new construction. Demolition has some disadvantages, including waste of building embodied energy, building waste generation, use of new sources and greenhouse gas emissions as a result of new construction. Unlike demolition, adaptive reuse approach avoids the lavish process of demolition and new construction. Adaptive reuse approach can lead to materials waste reduction, maximum use of materials, embodied energy saving, time saving, economic saving, avoiding of overuse of resources and lands and preserve them for future generations. But the reuse of existing buildings need appropriate study and evaluating. Adaptive Reuse Potential (ARP) model through measuring building reuse potential and determining the best time to intervene for the reuse of building turns to an effective tool for decision-making in this area. Adaptive reuse potential (ARP) Model, which was introduced in 2007 by Professor Craig Langston, has a generic application to all countries. Adaptive reuse potential model (ARP) needs data such as the building physical life, current age of the building and building predicted useful life. Actually the useful life of a building is different from its physical life and there maybe buildings losing their utility because of obsolescence, years before the end of their physical life. This model uses 7 types of obsolescence includes, physical, economic, functional, technical, social, legal and political. A scale of 0–20% is used to assess obsolescence vulnerability, where 0% means it is effectively immune and 20% means it is significantly exposed. Adaptive reuse potential model (ARP) output is some indexes as percentage. ARP index more than 50% indicates high adaptive reuse potential, 20% to 50% indicates medium potential for reuse and ARP index below 20% indicates low potential for adaptive reuse.
On the one hand, Fossil fuel power plants have valuable features for adaptive reuse, including large open internal spaces, solid structures, large and valuable tracts of land, existing infrastructure, interesting architecture features, historic preservation interest, and landmarks for a new generation. On the other hand, due to large scale of fossil fuel power plants, their demolition can cost a lot and cause waste generation and waste of embodied energy. New construction also involves the use of significant resources and land. Also given to greenhouse gas emissions by these power plants, determination of the useful life, potential and the best time for reuse are very important. Adaptive reuse potential (ARP) model is a useful tool in this regard. This paper assessed the adaptive reuse potential of Tehran Beasat power plant, based on Adaptive reuse potential (ARP) model. So, the Adaptive reuse potential (ARP) model has been studied through the practical application and meanwhile calculating the reuse potential of the power plant the obtained results are discussed and analyzed.

Water is a vital natural resource is renewable, but finite, which is used for various purposes. Historically in many parts of the world, water resources play an important role in the establishment and formation of their residence and identity. Before industrialization, urban coastal areas were booming with people and diverse activities and there was a close connection between the coast and city but in the industrial age, this relationship was cut by creating some users such as major ports, commercial uses, Industrial activities, warehouse and transportation. Development of such as industrial activities in coastal areas have environmental problems such as pollution, aesthetic as well as social and economic effects for the surrounding urban communities. According to the sustainable development approach that is raised at the international level, should limit the effects of industrial development on the environment or be removed. Undoubtedly, the way out of the current problem is to consider the principles of sustainable architectural development and use them in development activities in urban coastal areas. For this purpose, Sustainable development and landscaping margin coast, ports can be used as a tool to achieve sustainable development goals.
In this study that is applied and developmental research, Text and content analysis were used for the analysis, and a library method also was used to collect the required data and documents. Also we attempted to describe these principles before introducing an appropriate criterion to create sustainable coastal landscapes in vicinity of ports that would also serve as dynamic urban centers. Reconstruction and development of coast base on sustainability criteria can convert coast to on the most important center of national and international socio-economic focus. Sustainable development of a coastal area meant to benefit from the full potential of these spaces. Therefore, the landscaping of coasts in vicinity of ports include a combination of understanding of ecological, environmental impacts and link the city with the port and coast. The integration of sustainable development criteria and standards for reducing an environmental impact of ports, can be a fundamental structure, particularly in relation to sustainable landscaping coasts near ports provided.
According to the findings, establishing and maintaining communication between the city, the harbor and the beach, protect and guarantee the quality of water and the environment, reduce environmental pollution (air-optic-audio), create economic opportunities, meet the needs of local people and the city, contributing expertise, organizations, government agencies and people in the planning and design projects, preservation of cultural identity, natural scenery and landscape, creating complex and diverse applications to exploit the environment all the days, building infrastructure and convenient access to coastal areas, creating quality public spaces, enhances the visual quality of the environment and coverage unfavorable landscapes, are including criteria for sustainable landscaping in vicinity of ports. In addition, the coastal margins of the port of Bushehr as a case study were identified and investigated in a variety of aspects (functional, accessibility, visual and environmental), then identified base zones and macro-design strategies to create a sustainable landscape on these beaches has been provided.

Nowadays, many traditional Bazaars has been abandoned, while new urban spaces, such as shopping malls don’t seem attractive to citizens. On the one hand, to prevent the loss of the value of such places, urban projects and programs are needed. On the other hand, temporary exhibits suffer from the following factors: 1) No place for rest, play and fun. 2) Lack of attention to how the man in the booth moves and poor circulation. 3) Large width of the booths 4) No connection to nature (regarding light and ventilation). These are causes of confusion and discontent of users. Hypothesis holds that Bazaar as a traditional city center, features sustainable architecture, culture, social and economic. Thus, recognizing and taking advantage of the aforementioned experience can be a solution to the problems raised by the mobile exhibition that stands today.
Research method were qualitative in the first stage, features of traditional Bazaars were studied in 5 cities: Tehran, Isfahan, Tabriz, Yazd and Kermanshah. The result of field observations from traditional Bazaar of the cities indicated that the desirable features of traditional markets could be used to lower the problems of temporary exhibitions.
Maps were drawn, based on the city's cultural heritage early maps, and edited with field surveys, in the GIS environment. Variation in climate, year of manufacture, and the architectural style were selection criteria.
In second stage, by designing a questionnaire regarding the problems of temporary exhibitions, the rate of function of these factors was questioned from 241 people.
The questionnaire included 50 questions with answer options ranging from very low to very high in four options. Tehran International Book Fair (Seoul) and Tehran's International Book Fair (Mossala), as the biggest mobile exhibition in Iran were selected.
Surveys distributed in three periods, morning, noon and evening, and on three different days of the week.
Selected respondents were randomly in the means of education, occupation and gender. The purpose of the survey, was to collect and analyze in SPSS software.
The results show that physical characteristics of the markets are functional in following areas: 1) Linear expansion of the market. 2) Definition of traditional Bazaar orders for different classes. 3) Creating »Charsoo« the confluence orders. 4) The proportion of the size of orders by emphasizing the width of the bottom. 5) Defined width that can be seen by human eye. 6) Nature lighting and ventilation. 7) Marquee with aesthetic and functional performance.
The first principle is respect for the width of the bottom row. The booth shall be located on the sides were visits are more easily done. The second principle defines the location of the booth for a break, by considering a wide range of human needs, not only to cover an Architecture Exhibition, but also to meet the social and cultural characteristics. So paying attention to other areas of human needs can increase the satisfaction of exhibition environments. This important issue has also been proven in relation to the satisfaction of visitors with interior design (73%) and green space (78%).

According to Aristotle, poetics and art, were considered an imitation of reality but according to Bachelard, they were phenomenology of the imagination. Bachelard showed how houses are receptive to human characteristics and complexities, a house and its occupants usually match the architectural space, and residential space gives excellence to geometric space. House, in his opinion is a sheltered nest of dreams and imagination. Poetic imagination is always "text" and thus be interpreted and in reading the meaning of architecture and the city, both are studied as text. Thus poetics of urban space and architecture can be investigated from phenomenological, ethnographic and semiotics (Semio-logical) methods. Urban spaces in a semiotics approach, usually emphasize on the aspects of semantic systems. The city is filled with semantic significations which is encoded by both designers and citizens and then is decoded by the citizens. The city can be understood as a text by considering varying semiotics natures of the urban space. The question is, How to create a poetic urban space.
The aim of this research is to find techniques that can lead to poetical features in urban spaces. The urban semiology is a method to linguistic analysis meaning of urban space. The article analysed a case study of urban space that has this features by semiology approach. The case study is Bagh-e Boland (Chamran Park) in Shiraz city, designed by Mehrdad Iravanian (b. 1957). Bagh-e Boland is an urban space which allows its audience to interpret and explore the meanings. After an introduction to urban and architectural semiotics, a sociosemiotic analysis is carried out to uncover the meaning system of this built environment. In this case, the park is viewed as structured by poetical characteristics and as a text. The park has been investigated by syntagmatic and paradigmatic, synchronic analysis.
At the level of the design strategy, Iravanian has used three strategies to create a poetic space: intertextuality, defamiliarization, and metaphor. For intertextuality he linked his text with non-architectural texts such as sculptures or history of site. He has deviated from the standard language, has changed automatized meaning of the space and thereby has defamiliarized space. He has done this by increasing the scale forms, creating synchronicity spatial elements, and change in composition of the constructions. In addition, multiple meanings have been added to the space by using the architectural metaphor, amphiboly and metonymy. He suspended architectural elements and applied familiar construction and building materials in another way. He has provided metaphor by naming spaces, captured in the axis of the syntagmatic of spaces and usage of dual oppositions. Urban spaces are highlighted by exaggerating the textures used in floor, walls and furniture. It should be noted at the end that this spaces can be analyzed with other approaches, however looking at the language of this article is merely an urban space. Also intertextuality vision to text can disclose techniques of createing new meaning in space. Thus, an urban space, can help in motivation of thought, the audience, and the pleasure of discovery.

Semiotics (Semiology) is a scientific approach which deals with studying and analyzing signs. By broad and multilateral studying upon objects in different cultural and social fields, it can be considered as an efficient factor (effect) in architecture and impressive agents in creating spaces. This research, investigates the reasons and meaning of the factors (effects) which were used in the entrance of Qajar's houses of Qazvin City from view of semiotics, and by considering “Ferdinand de Saussure”, “Charles Sanders Peirce” and “Umberto Eco” points of view. The theory is that in researching every detail of these entrances with Semiological view, whatever that interpreted as a sign is a result of human's thoughts (mind) and also has been impressed by cultural and social structures. However, the main part of this research is mostly about objective (visual) factors (effects) but as the aforementioned theory suggests, these visual factors (effects) are also made by following the thoughts (mind). In this research it is decided to study the entrance of Qajar's houses of Qazvin City by using semiotics (semiology) to analyze these areas more deeply than what was thinking about them- that these areas are just a linking part of the houses. The research also wants to find and analyze the factors (effects) among cultural and social fields, which can be interpreted as signs. As it can be understood from research's title and its theory, necessity of meaning interpretation and social analysis as the main base have an important role, so by considering them, the research method is qualitative and in analyzing, it is supreme, comparative and descriptive. Semiological analysis were carried out in accordance with the views of “Saussure”, “Peirce”, and “Eco”. Therefore, the cause-and-effect relationships of signifier and signified were discussed in Saussure’s perspective. Then, the designatum, Sign, interpretant, and three types of semiotics (index, symbol, and icon) were discussed in “Peirce’s” point of view. Finally, the centrality of culture was analyzed in the formation of symbols in accordance with Eco’s view. In addition to analyzing the functional and conceptual causes of spatial elements of the entrance symbolically, the research results indicated the most effective factors in the analysis of signs in reference to subjective and conceptual components. Such components resulted in cultural, social, religious, and behavioral structures by considering the physical features leading to a meaningful form. Accordingly, the researchers managed to determine the philosophical method of semiotics in the legibility of architectural elements by preserving the nature of the method. The aforesaid approach described the conventional relationship between physical forms and the elements of entrance space comprehensively in addition to their applications. It also justified those entrance symbols which were merely decorative and useless, due to the lack of a specific functionality, in the legibility of deep semantic strata in reference to sociocultural structures. In interaction with the views of theorists, the legibility of entrance space symbols was provided in a more detailed context in relation to the residents and users of space in addition to behavioral and religious patterns affecting the creation of a meaningful physical for such elements.

Home is the first space which human kinds are affected by and are experience the sense of belonging during the day. Iranian traditional houses are big houses with yards inside and outside the houses. According to the division of overall structure of houses into inside and outside parts, the principle of hierarchy and spatial continuity from the entrance to the main part of the collection can be seen. Using a central courtyard had been a very old pattern in housing construction and residential spaces had been formed around the courtyard, by utilizing various methods. Yard as the main space in the past houses had formed the structure of the house by their geometric shapes. The result of this attitude had given a special place to the yard in the past; Something that today, because of the quantitative attitude to the issue of housing, the utilitarian approach to the land, the lack of attention to the space quality and meaning, and ignorance of the influence of the environment on the human psyche, is neglected and a little trace of it remains.
In this study, with the aim of expressing the component with common indicators of the yard in the space structure of the Iranian house, and to answer this question that "What are common aspects of yard in the space structure of Iranian historic houses?", spatial structure of a few examples of Iranian house will be studied. Among historic houses of Yazd, Garden house and among historic houses of Kashan, Boroujerdi house, and also Behnam houses and Mashroote house among Tabriz houses are chosen. Then the common components and aspects of these houses, which represent the greatest features of the yard in architecture space of the houses are explained. By considering the study topic, which was conducted as a case study, achieved data and information were analyzed by using the interpreting and comparing method and to analyze the spatial structure of the study samples, the method of "space syntax" and Depthmap and Pajek software were used in this regard. Space syntax is a set of methods and theories that, in order to explain how the interaction of space configuration explains social organization and social behaviors, studies space configuration in architecture and urban scale. This method is explained by Bill Hillier and Julianne Hansen in Bartlett and during three decades with the development of theory on one hand, and the development methods and techniques of space analysis on the other hand, has been changed to the present form. To analyze the spatial structure case studies, internal and external relationships of the elements and their relationship together should be analyzed. Elements that were checked by this method and this software, include sight- sight graph from a point- potential of eyesight- the hierarchy of access and depth of space that will result in access graph. This analysis helps to connection of effective elements in space. The results of the analysis are expressed in the form of the items for yard architecture at contemporary houses.