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سال هجدهم شماره 101 (آبان 1400)

Place attachment is one of the most important dimensions of the relationship between humans and places and the place is the one that has the power to establish connection and bonding between place itself and human being. Although the concept of place attachment and its attributes are rooted in many approaches and theories, the scarcity of a precise definition of place attachment discipline has confused designers in recognizing and using the factors of such a semantic level. By reviewing the respective literature in this research, while defining this meaningful spatial quality, the correlation between place characteristics and the meaning of place attachment - which has been explained in previous studies – has been interpreted and studied in this field. It is because of finding the forms and the interfering factors as well as its measurement tools. Finally, the goal is to find a model for ameliorating this quality in place based on the findings of this research.

Answering the question “What are the constructive components of place attachment in Art University?”, this research’s purpose is to present a model to explain and ameliorate place attachment quality relying on findings of previous studies, identifying the gap in them and also finding solutions to liberate designers from bewilderment and uncertainty in understanding the concept of place attachment are among the objectives of the research.

This research has used the data-based theory method relying on a qualitative approach.

This study attempts to interpret and assess the perception of the students of the University of Arts of place attachment to develop a theory that can fill the theoretical and practical gap in the study of place attachment. It used qualitative research using data-based theory in this direction. This study presents a model in which the three stimuli of background, setting and foreground are considered as components of place attachment in educational spaces. In all the answers received from the participants, whether in the questions related to the personal experience of the person from the location of the University of Arts or in the general questions related to the personal life experience of the person, despite the differences, they all mentioned the three stimuli in which the “background” stimuli are present as an intra-mental connection and the “setting” as reality or the moment of human presence in the place and from the overlap of the two, along with personal wishes and desires at that time the third stimulus, foreground, emerges. In general, it creates an ecosystem in which all components play a role and it is the main factor in the human judgment of place. Although it is possible to study the factors of each of the stimuli separately (as previous researchers have studied place attachment factors this way), in the end and after merging them, it is not possible to break them down into simple sets and distinguish them as individual elements and results in a secret connection which is the basis of the concept of place attachment.

The relationship between visual and musical elements is always controversial. Music and visual arts formally impact each other, but illustrating the impact in any aspect requires a technical examination of the musical piece and the visual arts' craft.

 This essay seeks to find a relationship between the title of the work “Calligraphy” and the technical aspects of Reza Vali's polyphony. The  main question of the study is what is Vali's approach to the use of materials, and how modern calligraphy and the present piece are connected?

 This study uses Jan LaRue's model to answers the question. This model includes A) Sound: timbre, orchestration, and tuning system; B) Harmony: Vertical organization of sounds, chord structure, and harmonic progressions; C) Melody: Pitch organization in the horizontal direction that the listener perceives as a whole. In the melody category, factors such as melodic contour and modal features can also be considered; D) Rhythm: Organization of duration and meter; and E) Growth: Factors that shape the form of a piece, such as the contrast among sections and the development process.

By technically examining the work, it can be concluded that the composer’s main idea is “developing traditional elements and combining them with modern art”. He has developed traditional polyphonic techniques, such as “Javab-e Avaz” and the drone tone technique, and combined them with modern art by applying their common features. This process is similar to Asian calligraphic works rooted in the traditions of Toaman, Motaeaes, and Golzar calligraphic styles. Modern and traditional calligraphy tend to use old calligraphy techniques in their works. The reflection of the composer's thought can be found in the cover of Vali’s Calligraphy Album, which is taken from a modern and calligraphic work by Nasrullah Afjeh.

The research areas of environmental aesthetics require theoretical rules and principles to introduce a fundamental background to an empirical, cognitive, and emotional perception of infusion of aesthetics into the environment through human experience. Therefore, given the gap in the theoretical foundations regarding the nature of environmental aesthetics experience and its perception and formation process, this study aims to find a different perspective to seek and introduce new paths in order to identify the problem more accurately in other areas (which have thoroughly addressed the problem). Hence, two questions may arise. How is the process of forming and perceiving aesthetics experience in the theoretical areas of the psychology of art? In this regard, what theories are more practical in environmental aesthetics?

The study aims to review the prominent models of aesthetics experience perception in the psychology of art  by Identifying the  basic structures of  the theories, can make benefits from their capabilities to lay the foundation for discussion about the theoretical concepts in environmental sciences.

This is a qualitative study that seeks to analytically identify different perceptual models of aesthetics experience in the psychology of art. After the prominent perceptual models were analyzed, six models were selected. Their contents were analyzed to identify the relationships between their variables. Finally, two main models were introduced presented. Based on the concepts of environmental aesthetics and the potential of the two designated models, it was recommended to converge their paths to provide a theoretical context for multiple research methods of environmental aesthetics.

Leder’s theory and Silvia’s theory introduce an integrated network of perceptual, cognitive, and emotional processes to compete with each other. They also propose a flexible modeling mechanism for a wide range of variables regarding the priorities of aesthetics experience. As a result, new hypotheses can be developed for environmental aesthetics.

One of the historic capabilities of Birjand city (East of Iran) is the existence of a large number of historic gardens that, despite the great importance from the perspective of landscape architecture, sufficient attention has not yet been given to the gardens from the viewpoint of landscape planning. One of the newest global approaches to historic gardens is the revival of agricultural and productive capabilities of gardens through methods and approaches called urban agriculture. While urban agriculture encompasses the tangible edible heritage of urban gardens, it also prioritizes engaging civil society in agricultural activities. In urban agriculture, in addition to the owners of the gardens, urban dwellers benefit greatly from the collective gardening in the urban gardens.

This study attempts to identify the strengths and weaknesses of Birjand's historic gardens for the development of urban agriculture, and therefore seeks to answer the following question: Are Birjand's historic gardens appropriate for urban agricultural development?

The research method in this study is analytical-descriptive and main data were collected from bibliographic databases and through interviews with garden managers, experts, consultants, and some gardeners about 11 historic gardens. In addition, field studies in historic gardens have been conducted by the authors. Questionnaires were also used to collect the data including physical facilities of gardens, agricultural production activities in gardens, agricultural and horticultural objectives, marketing of horticultural products, and agricultural economics.

The results show that a large part of the area of Birjand's historic gardens is dedicated to agricultural activities. According to the findings of this study, historic gardens have the potential to create opportunities for public participation in the production, training, and consumption of agricultural and horticultural products. A combination of different goals, whether commercial, educational, social, therapeutic, or environmental, can be the key to the success of place-making of the historic gardens through urban agriculture. According to this strategy, the historic garden can be a place for interaction between different groups and users. Therefore, the formation of Continuous Productive Urban Landscapes (CPULs) depends on the strategy of public participation and involving citizens in the re-planning of historic gardens for the development of the edible public green space so that all gardens, whether private, public, or endowed, would be places for the presence and participation of citizens in the development of urban agriculture.

The exhibition statement is one of the linguistic modes separate from the work, which, along with the visual mode of the works in contemporary art exhibitions, forms a multimodal discourse. Linguistic and visual modes interact in the form of a single discourse to achieve a unified goal. Statements today are an important part of the process of creating, reading, or shaping exhibitions, especially in situations where conceptual implications outweigh aesthetic meanings. Therefore, one of the new issues in contemporary art is the function of exhibition texts and notes and their relation to the visual mode of artistic discourse. What is the function of these texts? What is the relationship between this part of the language mode and the visual mode in the exhibition and how are their roles related to the functions of the statements?

The purpose of the present article is to examine and classify the additive relationships of the linguistic mode to the visual mode in contemporary Iranian painting.

​​ This article pays attention to the main function of statements through a qualitative study and to this purpose, we examined solo painting exhibitions in the Gallery of Free Designers in the period of 2006-2016. The theoretical framework of multimodal discourse analysis was used to extract and classify linguistic (statements) and visual relations in the fabric of contemporary painting.

​​ An effective statement can enhance the image by adding details or enhance it through elaboration, and most importantly, it can extend the visual mode. These additive relations conceptualize the visual mode, which is one of the most important functions of the statement as a linguistic mode and moves towards an integrated communication and interdisciplinary formulation that is the result of the process of mode relations.

 Urban space reflects in social actors’ minds and it is shaped through their actions However, space actors do not necessarily have similar thoughts. Accordingly, urban spaces' production and transformation need to be further addressed from different social strata and groups' mindscapes. The question is whether we can analyze the social classes' mindscapes with regard to specific urban spaces using the analytical narrative research method.

This study attempts to delve into new urban middle classes’ narratives of Enqelab Square in Tehran during 1952- 1979, which were included as a case study.

 Narratives of the new urban middle classes of Tehran's Enqelab Square during the years 1330 to 1357 were selected as a case study.

The research findings revealed similar and classifiable narratives from the new middle class, reflecting their mindscapes of a certain urban space. Moreover, their views of the Enqelab Square were classified into two periods. Seemingly, the period of such changes in individuals’ perspectives is in line with the material and cultural changes in the historical context. The reason is that when the political, social, and economic affairs find their appropriate position in the city, and the changes in such issues are caused by the variations in the material and spiritual conditions of human life. Places can provide the grounds for such changes since they have the possibilities for all kinds of actions.

One of the physical transformations of the urbanization of Ilkhanid era was thephenomenon of “Abwab-al-Berr”, which was unique in diversity, organization, and greatness. It consisted oftwo general sections, the “central core” and “Shahrestan”, both developed with a regular and pre-designedgeometric structure. Since Ilkhanid urbanization developed in the direction of the tradition of urbanizationin Iran, it is possible to study urban innovation in this era in the same direction. Progress of architectureunfolds by, rather than losing touch with the past, adhering to long-established traditions, principles, andtechnologies.

In The Nature of Order, Christopher Alexander describes fifteen properties of a livingstructure based on the principles of “wholeness”. He asserts that fifteen properties can be effective in creatingregular, living structures. This study attempts to explore the principles of urban design underlying the spatialorganization of “Ghazanieh” and “Rab’e Rashidi” as transcendent examples of “Abwab-al-Berr”.Research question: To what extent are the principles of Alexander’s urban design generalizable to theIlkhanid city of “Abwab-al-Berr”?

To answer this question and meet the objective of the study, historical-interpretiveresearch was selected. The research process comprises two steps:In the first step, the focus was on the spatial structure of “Abwab-al-Berr” existing in historical documents. Inthe second step, the generalizability of the principles of the living structure theory to the spatial organizationof Abwab-al-Berr was assessed.

The results of this study show that the spatial structure of Rab’e Rashidi and Ghazanieh arecompatible with fifteen principles of the living structural theory, namely levels of scale, strong centers,boundaries, alternating repetition, positive space, good shape, local symmetries, deep interlock andambiguity, contrast, gradients, roughness, echoes, the void, simplicity and inner calm, and not-separateness.This compatibility can help form an approach for designing and organizing irregular modern-day cities.

 Parallel with the confrontation of the East and the West in the fields of worldview and philosophy, the comprehension of contemporary artistic approaches and movements also has its own complexities. Among these, conceptual art is one of the most controversial issues in the art world due to its characteristics and its view of aesthetics, media, audience, and institutions. This subject by its very nature is directly related to the language. The question that arises is what is the connection between language and art in Iranian conceptual art?

The aim of the present study is to gain a deeper understanding of conceptual art in Iran so that the weaknesses and strengths of the relationship between art and language in this movement can be better explored and, if possible, solutions for the future can be considered.

In this study, the first step was to examine conceptual art by delving into the background of the study and its related spectrum. In the second step, the relationship between art and language, was first analyzed in general and then were scrutinized in conceptual art by referring to the opinions of artists, current trends, and works, and to extract its components and principles. In the third step, the Iranian conceptual art and the relationship between art and language in this fledgling art movement were studied and the works were analyzed based on the mentioned components and principles. In this study, the main purpose was to analyze the relationship between art and language in conceptual art, and show the weaknesses and strengths of the process of understanding and absorbing conceptual art in Iran.

By studying the relationship between language and art in Iranian conceptual art, the results can be summarized in two dimensions. First, the three components of the formation of conceptual art in the West are very different from the context of its development and absorption in Iran. Second, this difference has created a weak link between language and art in Iranian conceptual art, which is contrary to the two principles derived from Western conceptual art. It seems that these two dimensions should be considered next to the strength of this movement, namely being related to tangible issues.