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سال بیستم شماره 122 (امرداد 1402)

Problem statement: 

Urban ruins, as a result of modernization and urban transformation, are not only able to reveal modernity’s inseparable contradictions but also can unfold the existing dialectic between the two acts of creation and destruction within which a developing country develops by maintaining a relationship with the past. However, as much as it strives to advance and astonish, it ignores ordinary city life and its people. Ruins appear as narrators who speak of a city’s recent past and justify what happened during the tense periods of a country’s political, social, and economic struggles. This article, by studying how these ruins are represented in films of Iranian New Wave cinema, sets out to explain the role and identity of this element in Iran’s modernization before the Islamic revolution. Tehran’s development during the Pahlavi era is the focus of this study and is discussed in relation to Paris’s Haussmannization to thoroughly investigate the significance of urban decay and ruination in each one. Regarding the fact that Tehran appears as the main story scenery for many Iranian New Wave films, three notable features are studied: The Brick and the Mirror (1964) by Ebrahim Golestan, Strait (1973) by Amir Naderi, and The Cycle (1978) by Dariush Mehrjui.

This article aims to not only foreground urban ruins’ position in disclosing modernization’s innate contradictions during the Pahlavi era but show how they are capable of unmasking society’s meretricious development.

This study is descriptive-analytical and draws upon library resources including direct reviews of the three named films.

The article concludes that cinema, besides being a documental tool in recording urban ruins, can have a creative perspective on these places and their residents to challenge the modern city’s phantasmagoria and its desperateness for retaining the superficial aspects of modernity.

Problem statement: 

After the establishment of industrial factories in the first Pahlavi era, the new noble social class that owned factories was added to the traditional noble families (i.e., tradesmen, courtiers, landlords, and government relatives) of Isfahan. Considering the developments of that era and the new demands of factory owners, tradesmen, and government relatives, a new pavilion-style architecture appeared in Isfahan’s noble houses, which are either destroyed or exposed to destruction, as they have no written documents. 

This study aimed to analyze and document Isfahan’s contemporary residential-architectural heritage based on house typologies.

The study method fell under historical-interpretive research and was based on field, documentary, and oral findings. For this, the typology of Isfahan’s pavilion-style houses in the first Pahlavi era was based on a combination of mass-space and ground deployment, space-entry elements syntax, and main and secondary axes of the building, façade, and decorations.

According to the findings of this study, pavilion-style houses in Isfahan during the first Pahlavi era are classified into three types: first, a space organized by a stairway (mostly two-way) in the center of the plan, with other spatial elements formed on either side; second, a space organized by a hall located in the center, with other spatial elements laid next to it; and third, service spaces on the ground floor separated by a corridor from other spaces. Here, the element of the corridor is located in the center of the plan, with other elements formed next to it. Findings also suggest that in the interior spaces of the studied houses, volume, diversity, and decorations have reduced compared to the Qajar era; however, the facades facing the courtyards and passageways include more decorations (brick, tile, and metalwork), with the decorations being more geometrically and realistically themed. Also, one can see the traditional materials of Isfahan used in those structures, as flat ceilings with wooden beams have replaced traditional arches.

Problem statement: 

Although the unwillingness of students to use academic libraries may have such reasons as the interference of class times with the working hours of libraries, the spread of electronic resources, and easy access to them through applications that can be installed on cell phones and computers, the architectural design criteria in academic library spaces can also affect in the lack of presence of users.

The present research aimed to identify criteria that lead to the maximum attraction of users and increase their presence in academic libraries while improving the quality of the architectural space of academic libraries.

Using a qualitative approach, this research was done by the grounded theory method. The data obtained from semi-structured interviews with 14 users of 5 academic libraries in Tehran were coded in the three phases of open, axial, and selective coding. 33 propositions were obtained as open codes. Axial codes were extracted from 20 main categories and finally, 5 cores were recognized as the selective codes.

Providing spaces for leisure time and relaxation, views of vegetation, diverse visual views, the possibility of group discussion, the environmental comfort in the study halls, considerations related to the privacy of visual connection between the women's spaces and other library spaces, spatial organization, functional quality of furniture and shelves (suitable furniture for long-term sitting and observation of ergonomics), and management and planning for human resources were determined as factors affecting the desirability of academic libraries.

Problem statement: 

The latest fusion between art and blockchain technology has created a new artistic movement called CryptoArt. This emerging method, which has recently attracted the art world’s attention, requires exceptional understanding and reading.The current research seeks to answer what turns this innovative technology into art and tries to determine whether CryptoArt can challenge market-oriented and commoditized art in the capitalist system.

The purpose of the upcoming study is to get to know the way technology works in CryptoArt and trace its formation grounds in the history of art, to achieve a better understanding of this new artistic movement, and also to study the emancipatory potential of CryptoArt in the market-oriented field.

The present study draws upon the opinions of thinkers such as “Lucy Lippard,” “Walter Benjamin” and “Jean Baudrillard” and uses a fundamental purpose and historical-descriptive method to answer its questions. This research attempts to study an example of CryptoArt; The non-random sampling method was purposeful and includes the work of the well-known contemporary artist Damien Hirst, whose project has been reflected in the media, and whose sale price has been significant.

The results make it clear that CryptoArt follows the concepts of contemporary art history to redefine art and show its relationship with life. In this new procedure, technology tries to restore the authenticity and uniqueness of modernism to digital art by adding a virtual asset to the works. Also, the findings indicate that encrypted art can bring opportunities and threats to the art world. On the one hand, it can decentralize and challenge the conventional frameworks of the capital-oriented art market, and on the other hand, it can become a tool to strengthen the commodification process and re-dominate capital over art.

Problem statement: 

Contemplating the formation of the design in the designer’s mind to create a sublime space is essential to provide the designers with a clear idea of how to create a desirable design aligned with human nature. The theories of Iranian polymaths have not been expressed as the philosophical theories of the West regarding the creation of space, whlie they have been proposed several centuries ago. The research attempts to answer two questions: What is the relationship between the mimesis of Sadra’s theory and the architecture and the urban design methods, and how it can be in the creation of spaces.

The current study aims to investigate the theory of Sadra as an Iranian philosopher with an emphasis on mimesis regarding reflection in the field of architecture and urban spaces. IThis research analyzes the notion of mimesis and its relationship with the spatial analogy. The goal is to explore the philosophical Iranian notions in the spaces such as the Bazaar and use them in modern design works.

The research method is comparative with content analysis, and its approach is semantics along with a case study. By categorizing data in the tables and matching notions together, the philosophical texts analyzed and accommodated spatial notions of an Iranian Bazaar. Contemporary works were compared with the Bazaar, and in the final analysis, the Bazaar was introduced as an archetype of the analogical design method.

The designer receives intuitive inspiration from the world of ideas and creates allegorical form in his imagination faculty by the mimesis. These inspirations give the limit existence of the designer of space in traditional architecture. The Iranian bazaar is a space with various functions that it has been formed through the mimesis and intuitive inspirations of the designer, which is accommodated with the analogical design method in architecture. Also, the Bazaar can be an archetype and a spatial analogical reference to the creation of desirable urban spaces. Therefore, one of Sadra’s theories can be compared to the notions of architecture and urban spaces and explored regarding the relation between mimesis and the analogical design method or spatial analogy in architecture and urban design.

Problem statement: 

Insecurity has been one of the most enduring concerns of urban life over time, and security is one of the most important indicators of the quality of life in urban spaces. Meanwhile, the fields of criminology, environmental criminology, and place-based crime prevention approaches have undergone various changes. Place-oriented and micro-centric analysis of urban crimes is one of the new operational strategies to prevent crime. At present, concepts such as “place” and “place management” have found valuable roles in criminology. Despite their roles, they have been less considered. In the current readings of the concept of place, it has been reduced to its traditional macro- and meso-scale readings, and on the other hand, the technique of place management lies in the isolation of theoretical introduction and empirical application among domestic texts.

This article aims to analyze these two key concepts theoretically in the form of a correct epistemological classification system in line with the knowledge of environmental criminology and the criminology of place.

This study is qualitative and based on library studies and document analysis. Also, this study focuses on the systematic use of secondary documentary data for discovery, extraction, and classification in three basic conceptual areas, including “the concept of place,” “the concept of place management,” and “the approach of criminology of place.”

According to the results, the concept of place in specialized and interdisciplinary criminology literature has two levels: traditional reading and modern reading. Also, in modern readings, “place” has jumped significantly in at least three areas of “conceptual growth,” “knowledge growth,” and “utility growth” and requires a coherent reading. Therefore, place and place management are scientifically traceable from at least three angles: “criminology of place theories,” “crime prevention theories,” and “theories of policing.” In sum, through the theoretical positioning technique, both the semantic-conceptual system of “place” and its objective network were analyzed and interpreted.