مجله منظر
پیاپی 51 (تابستان 1399)

Making an appearance, that is called visualizing is the most difficult step in the creative process. As soon as the appearance emerged, any changes after that will be easy . This stage is considered as an art technique that is taught in art schools; however, visualizing, without encountering with an exemplar, is the most profound aspect of creation.Although, for the human being who lives in material world, creation includes the highest level of verification or a new combination of appearances that the creator has faced with or experienced before, but apart from the components and elements of appearance, the whole entity of created object benefits from the truth.A trilogy that consists the essence of Iranian space, is composed of “Water”, “Tree” and “Chartaqi” [a structure with four arches]. The association of these three longstanding elements with each other was a new phenomenon that did not appear all at once, but gradually happened over the centuries. The historical explanation and description of “quality” and “quiddity” of this trilogy has been thoroughly reviewed and discussed in the book “The Thriology of Persian  Landscape”.There are features that give the Iranians life a special identity including: 1. The Iranian people`s beliefs on establishing a trilogy [structure] in the center of space as a reason for its survival and conformity; 2. Presuming a power for it that expands space to the new far distances and exteriors under its influence and 3. The continuous granting of holiness and perfection value to it.The fact that Iranian architecture, Iranian cities and spaces such as gardens still are known as a unique identity, in spite of having diversity in their appearances and historical developments, is the result of existence and continuity of this triple appearance on the space development. The trilogy forms the basis of the space’s aesthetics in Iran, and wherever and at any time it is supposed to create a new atmosphere with the Iranian preferences, it is the trilogy that plays the main role. Even in the low quality examples of “park building” with the desire for making an “Iranian garden” and designing neighborhood in today’s cities, the conscious or subconscious signs of the three mentioned elements in space production can be observed.After discovering and introducing the existence of this trilogy in the essence of Iranian space, it is time to pay attention to the types of its emergence and presence in urban spaces, and in architectural and natural environments; It is also required to study extensively and profoundly the reasons for its success and sustainability in the evolving world for thousands of years up to now. Perhaps in order to analyze the stability of this trilogy in the aesthetics of the Iranian space, in comparison with the demise of beauty symbols in the artworks of other civilizations, we might require to consider the trilogy, with an ontological approach, as a symbol of general existence, and to regard the symbolism of other civilizations, as an epistemological and detailed action in the territory of the appearance while making a perfect space.On the cover of this issue, is a painting work of Shohreh Javadi, that portrays one of the original trilogy of Niasar, Kashan that is still standing. The painting, by choosing a special view from the triple choreography, has created a lasting frame of aesthetic physiognomy, that emerges from the spiritual perfection hidden in the minds of the Iranian people.

Fath-Abad Garden in Kerman, in the central desert of Iran, is one of the considerable examples of Persian garden in the Qajar period. The garden strictly responds to the original factors of the Persian garden, while represents some contradictions with classic structure of the Persian garden. After decades of neglect, this garden was renovated in 2015 and has been opened to the public. Today, when we visit this garden it is difficult to redefine it as a Persian garden. By referring to the previous researches on the structural indicators of the Persian gardens, this paper compares Fath-abad garden, before and after renovation, with original characters of Persian Garden as an unique identity. To achieve this goal, the aerial photos as well as general photos of garden before and after renovation are the basic resources of this research. Considering the garden’s structure before and after renovation, this paper recognizes the neglection of two main structural indicators of the Persian gardens, which has disturbed the perception of this garden as a Persian garden. The results show that the ignorance of two important indicators of Persian garden including being enclosed with walls, as well as the position of main entrance and its relation with main axis and pavilion, disturbed the perception of this garden as Persian garden and as a complex of three detached garden.

Culture and communication are coexistent in relationships, and inseparable in practice. Every cultural behavior is a communicative event, and every communicative action is a cultural event. Media is the gateway through which culture is transmitted to individuals because media content is considered a cultural element. Today, it is not possible to achieve a complete and comprehensive understanding of the relationship between media and culture without conducting multicultural research and interdisciplinary studies. The media are regarded as the places for laying the cultural groundwork, and deep reflection about the importance of meaning and thinking given the cultural context and social realm, which strengthens and reconstructs a coherent model of meaning and establishes a value center. The garden, the domesticated nature, as a cultural landscape, is the result of a complex historical interaction that has formed over time and at the same time has aesthetic, transcendent and useful values, and through its multiple values engages all five senses. On the one side of this interaction is always "human" as a social being who is able to build a culture, and at the other end of the spectrum is everything that human has encountered at various times. His first encounter is "nature." In subsequent encounters, man has established a connection with his environment, and the achievement of this connection has created a culture. Therefore, the Persian Garden is a historical phenomenon as a medium that, in addition to what is mentioned in the tradition, has themes that are related to the world of new media and the patterns that exist in the media to convey concepts in a special way.

The purpose of this study was to analyze the content of three titles of Iranian specialized architecture journals during their twenty years of activity. No report has yet been published on the content analysis of specialized architectural journals. The importance of this research is determined by understanding the role of the media in orienting the minds of architectural professionals. The research method of this research is content analysis by first hand references (original version of journals) and article counting based on a researcher-made checklist. Finally, data analysis is done using SPSS software. The findings show that the three magazines "Architect", "Art of Architecture" and "Architecture and Building" as the most reliable specialized journals of Iranian architecture in the last twenty years have published a total of 221 journals from 1998 to the end of 1977 with 4965 articles. The research showed that topics such as "Project introduction in Iran" (19.39% of total articles), "History and theoretical foundations" (19.23% of total articles), "Architectural events news" (12.93% of total articles) and Project introduction in the West (10.81% of total articles) accounted for the most. More than 62.36% of the variance is in articles published on these four topics. Also prominent (10%) is the theme "Project introduction in Iran". Investigating the distribution of articles in this study shows that specialized architectural journals have played an important role in the architects' biases in using the media as the context for introducing their construction works and directing their minds toward western architecture. In conclusion, it is suggested to check the consistency between the published articles and the concerns of the professional community of architects.

As urban population increases, cities face a dilemma: on one hand, the horizontal growth causes devastating effects on the environment, and on the other hand, vertical growth leads to a decrease in the quality of life of citizens and causes a variety of mental illnesses. This dilemma has left city managers with a complex puzzle: a city that must be able to accommodate more people with minimal interference ensuring their optimum the quality of life. This research presents the idea of multifunctional urban space design as a solution to the mentioned problem. The definition of multifunctional spaces in this research has been investigated using its definition in agriculture and environmental studies. The hypothesis of this research is based on the fact that the comprehensive definition can take a new perspective on urban design, improving the functional performance of existing urban spaces and thus reducing the need to build new facilities while maintaining the quality of life in dense cities. The research method is qualitative and based on bibliographic studies. First, the notion of functional performance and multifunctional space definition are examined in disciplines that produce a more specific interpretation of the subject, and then the definition of concepts is extended to urban design and urban space. Highlighted and discussed.

Statement of the problem: "Bagh-e-Shah" (The king's garden) is one of the structures in Abbasabad urban gardens complex in Behshahr, which dates back to the Safavid era. The garden and its pavilion have experienced hasty and subjective changes, and adorned decorations through time, particularly in contemporary times, which are deemed severe damages to the authenticity and identity of the place. Hypothesis: The harm due to the misled changes in the garden caused by the separation of the pavilion from the systemic and general approach toward the garden is because of superficial and partiality view toward it. This article seeks to assess the damages and misplaced changes of the pavilion in different eras by the phenomenology of the pavilion's view as a turning point of the garden. The present study has been done qualitatively, by descriptive-analytical method and phenomenology using field and documentary information. The results revealed that the pavilion was built following a systematic and holistic approach in harmony with the garden system. The break of the systems in the atomistic attitude in succeeding times led to the withdrawal of the pavilion from the holistic system. The fruit of this view is the disregard of a profitable regulating whole, the advent of misplaced settings and different styles, the duplication of bodies contradicting the meaning, direction, and identity of pavilions view today.

A proper understanding of precedents in architectural design as a common practice, suffers from the taboo of “imitation”, on the one hand, and, is also accused of “heresy”, on the other hand. In this regard, three issues have been studied until now: “Extracting the backgrounds of applied knowledge”, “Defining the proper understanding of precedents” and “Clarifying the difference between an educational or a research-based case study”.
What still requires further research for defining the “proper understanding of landscape architecture precedents” is the inevitability of interpretation due to the role of humans as a “subject” in landscape architecture. So the question here is what effect does the inevitability of interpretation have on the meaning and method of proper understanding of landscape architectural background knowledge? This study aims to reduce the theoretical difficulties that could impair the ability of knowledge production in this field of study. To do this, the concept of “knowledge production” is first thoroughly examined, then, “the conditions of precedents as a
source of knowledge” together with the “researcher`s conditions as an intervening subject” are determined as the main components of “understanding” in a theoretical framework. Finally, the standing point of landscape architecture is explained in comparison with this framework. The results show that to produce knowledge in landscape architecture, in addition to four common forms of understanding/perception in the field of architecture including “Irregular”, “Superficial”, “Deep” and “Structural”, which have already been determined in previous architectural research, another level should also be considered that is generally known as “Continuous” understanding. By focusing on this level of understanding and using the two techniques of “Triangulation” and “Crystallization”, it can open up new horizons in landscape architecture to address issues with multiple interpretations of subjectivity and to validate the findings.