نشریه هنرهای زیبا - هنرهای تجسمی
سال بیست و هشتم شماره 2 (پیاپی 94، تابستان 1402)

Design thinking as a way of guiding innovation has attracted the attention of innovative companies in recent years. By studying the practice and thinking of designers, this method tries to identify their work method in problem solving and develop it for use by nondesigners. However, this approach has always faced criticisms in its implementation. The lack of empirical research in this field has led to relying on optimistic narratives about the success of large companies, and despite the lack of empirical evidence and houlistic theoretical foundations, design thinking is increasingly applied by various industrial organizations. This rapid diffusion of design thinking into practice has not been accompanied by a rapid and strong development of its theoretical underpinnings. The reduced understanding of design thinking as a method of process that is not able to tell all aspects of thinking and acting like a designer is one of the most important factors of this deficiency. onsolidation of design thinking as an innovation "process" consisting of "stages and tools" has been one of the results of this view, which has reduced the innovation capacity of this creative approach to facing problems in a step-by-step and gradual way of solving the problem. This superficial interpretation of the designer's performance, which has faced problems with its deep implementation as a way of attitude in the mindset of the organization, has faced reactions and criticisms. Based on this, a group of studies, in a deeper look, have found this way of expression and the level of intervention to be insufficient, and have noted the necessity of implementing design thinking at the level of the organization's mindset, strategy and culture. Nevertheless, these reactions suffer from the lack of a unified concept for rethinking in design thinking, and they have been less able to achieve a consensus to guide the flow of evolution in explaining design thinking. In this study, we have shown that a new stream of research has emerged in the pursuit of reconceptualizing design thinking in the framework of capability. The diagnosis of this emerging current was done through identifying the main currents related to design thinking in innovation and in-depth analysis of selected studies in the discussed field. Considering the strategic position of the concept of capability in the literature of the organization, we believe that this form of conceptualization is able to solve the gap in the implementation of design thinking at the level of the organization's mindset and mentality and to obtain a deeper reinterpretation of design thinking. However, the deep influence of the cognitivist paradigm in the popularized interpretation of design thinking is a major obstacle to this trend. The influence of this paradigm has caused the formation of a reductionist look at design thinking, which, flows again in this new trend while referring again to the scope of these studies. Therefore, our final suggestion against this problem is to refer again to designers as the main source of design thinking and try to re-study them based on the capability lens to extract and apply designerly capabilities.

Dominic Lopes is a leading figure in art theorizing, especially as to pictorial arts, as well as nonart pictures, who sometimes directly theorizes about pictures, other times structuring theoretical frameworks applicable to pictures as well as other items. One can think that he’s fond of the audience rather than the creator of a picture, and as to this, one isn’t wide of truth so much. Fairly the only dispute wherein he sees the creator in due terms is where he’s speaking of photographic pictures. We can think of a structural model in which all of his picture-oriented theories can be encapsulated, consistent, and make sense. We speculate that such a sui generis model can be extracted, the whole writing of his being surveyed, and it can be said that the audience is its dominant character who plays a significant role in characterizing the other pictorial agents present in the pictorial practices the agents living in which compromise on some aesthetic profile which in itself characterize the whole such and such practice in dispute. For all that, the present essay hones in on two facets of a multifaceted beast named audience called classic and extra-classic audiences. Having tilted at perceptual, recognitional, and modal aspects of appreciation, we’d define how seeing the subject in the picture-a process which Lopes following Wollheim calls seeing-in- can be the basis of audience appreciation upon which are built the other stages of appreciation. Lopesian seeing-in is a more flexible, diverse, spectral appreciative process relative to Wollheimian one, though. Anyway, seeing-in being the basic characteristic of both the classic and extra-classic encounters is defined regarding an audience encountered with representational, figurative, non-abstract pictures which their being art is a contingent fact. Recognition, the other basic property of classic and also extra-classic, is explainable with an eye to seeing-in, and in our terms is realized by a phenomenon called four-layer seeing including the picture surface, the picture design, the depicted subject, and the real subject. With regard to the pictorial meaning for the audience, one can say that the final meaning is a possible, nonpositive one found by the audience speculating with a possible consideration of the creator's intentions. In fine, the spectrum of classic encounter shades into the extra-classic one with a gentle slope and more and more appreciative elements being burdened on perceptual ones. This shading includes more complex interpretive, emotional, evaluative, epistemic, moral, and especially aesthetic, empirical elements-all of which present at the extra-classic level with a more punch-being saddled on modalities. Putting the point another way, the extra-classic audience in comparison to its classic counterpart has a more emphatic eye, reacts more emotionally to picture, is more affected by seeing-in, and more importantly experiences some intellectual evaluative interactions their ingredients being aesthetic, moral, and epistemic ones. Moreover, the extra-classic audience can be sensate-sensible, and perch on the brink of pictorial systems, then being converted to a systemic, pictorial agent. She’s fully aware of her pictorial experience, thence a selective audience as to aforesaid conversion.

The politics of exploiting the environment and environmental commitment represents a global concern about the categories of social philosophy which has recently turned into a critical theme in artistic activism within the sociopolitical art approach. In social sciences, the idea of the third generation of critical theory concerning normative principles is to determine a moral grammar of social contradictions to explain the model of recognizing. With this in mind, the present study investigates the opinions of the third generation of critical theory in this regard and compares them against the moral aspect of environmental contradictions in artistic activisms. Supposing the resemblance of the direction of attempts to recognize the social reality of environmental crisis in artistic activisms and recognition theory (according to Axel Honneth’s reading), we adopt a descriptive-analytical method to study the discourse and reading of the representation of the concepts of environmental justice in contemporary subject-oriented art. Thus, we should admit that the social competence of artistic activisms in pursuing social demands is in agreement with the attempts to recognize (legal relationships and demand for social respect) within the framework of third-generation critical theory. It is thus assumed that artistic activisms propose a social agency for recognition in the field of environmental justice which conforms to the demand model of recognition in the third-generation critical theory. As a result, in order to realize public and meta-generational good, it seems necessary to explain the contemporary art in terms of environmental justice as an analytical approach which leads to conflicts between power inequities in understanding and challenging environment injustice. Given this, we shall adopt a descriptive-analytical method and describe the concepts of critical theory, Honneth’s reading of the issue of cognition, and the notion of cognition in environmental justice. Next, we will discuss the situation of contemporary art and eco-art and elaborate on activism in contemporary art in two cases, namely, opposition against an artistic institution and a petroleum company and interventions in the actions of gas pipeline companies.  In Honneth’s theory, ‘cognition’ in the sense of ‘social solidarity’ can be extended to art activisms that are presented collectively, which will be identification of disrespect and demand for social responsibility. In art activisms, a form of collective will complaining of ‘lack of recognition’ represents the dimensions of environmental degradation in the social, cultural, artistic, and economic structure of societies under the banner of hegemony and power. In the actions of the Liberate Tate, recognition of social conflict in the legitimation of the sponsorship of the artistic institution and the environmental degradation from the Deepwater Horizon disaster is represented in the form of disrespect and abuse of nature with interventions performed by activists. In the performance of the Blued Trees Symphony, too, the demand for recognition through legal registration of the work of art is pursued in environmental support. On the one hand, it questions the moral consequences of human being’s exploitation of nature and, on the other hand, it pursues the desire to be emancipated from the power system by targeting and criticizing the dominant ideology.

A knocker is a metal tool that is installed on the door of the house and by knocking it, the people of the house are informed of the presence of a person or people. Tonokeh in the local language is called the bottom tray of knocker which other parts of knocker such as shaft, anvil and rings are installed on that. The expensive Tonokeh of Yazd city has sometimes been accompanied by decorations such as meshwork and Etching, which Etching has been more popular than the other type. The method of Etching on Yazd Tonokehs is known as Qalamgiri. In this method, lines and motifs are carved shallowly on the surface of the metal, so that no trace of the pattern remains on the back of the metal. In this research, the authors tried to answer the questions in the field of layout, diversity, foundations, and concepts of the motifs, relying on 18 Tonokehs belonging to the late Qajar period, in a descriptive-analytical way, and with field and library methods.The result of this research showed that the diversity of patterns in Tonokehs follow four geometrical patterns, Arabesque, Khatai,Rose-and-Nightingale(Gol-o-Morgh)and Bota. By stating the point the return of the craftsman to painting Rose-and-Nightingale in the examples in question, often takes place in the desire to show perspective in the same Khatai motifs rather than complete loyalty to the style of painting Rose-and-Nightingale.The general form and arrangement of the motifs in the Tonokehs, especially in the central frame, have continuity with other handicraft motifs in Iran. If we can consider the form of the central frame of Tonokehs with book arrangement, as a source of inspiration for other Iranian-Islamic industries, and its internal motifs, appropriate to the stand of execution, with motifs of textiles and architectural arrays of Iran. The structure of Tonokehs motifs is divided into two parts, the marginal strips of the Tonokeh edge, and the central frame. The order and method of arrangement of motif elements in these two parts, including Merlons in marginal strips. Arabesque, Khatai, Rose-and-Nightingale, animal motifs, sometimes in the form of Vaq motifs in the central frame, reminiscent of elements originating from the concept of garden or paradise, In the thought of Iranian man. It is close to the concepts hidden in Iranian carpets and architecture. The presence of historical concepts such as mashya and mashyana and the tree of life in the representation of two cypress and pomegranate trees, instead of the moon and the sun, shows the historical connection of the motifs of Tonokehs with the traditions and myths emerging from the early rituals of ancient Iran. The creator Tonokehs believes in the belief of immortality, fertility, beauty, and usefulness. Therefore the selection of the desired motifs, along with the dragon motif, can be seen as the survival and continuity of the ancient tradition left over from examples such as Lorestan votive pins or Achaemenid Rhytons. That has turned the Tonokeh into a glamor for talisman and wish after their practical features.

Nowadays, use of new technologies in creating artworks lead to the expansion of interactive approaches in art. Interactive art as a new art that influenced by technology is a suitable platform to be able to study it based on the thoughts of contemporary philosopher Jean Baudrillard. In interactive art, the presence and role of the audience in the completion of artwork, creates a common sense between the audience and the artwork Jean Baudrillard, one of the postmodernism theorists, considers simulation in the contemporary world as a main factor in the disappearance of reality. According to Baudrillard's belief, signs and codes have dominated all aspects of life, including art, in the postmodern society, and he has repeatedly expressed his concern that the reality of the world is being forgotten in the midst of pretense and signs. The aim of research is by relying on the key concepts of Baudrillard’s theories such as simulation and sign value and by examining two examples of Team Lab designer’s interactive artworks, answers this question: how reproduction of signs and Baudrillard's simulation does occur in interactive art? To achieve this goal, a descriptive-analytical method was used to collect information using written and digital sources. The results of the research show that the presence and action of the audience in interactive art and the difference in their point of view and the way the audience communicates with the interactive work, have created new signs. This reproduction of signs along with factors such as interaction, imagination, subject and object and sense of audience leads to the blurring of the distinction between simulation and reality and the creation of signs without reference to the real world. In these interactive artworks, the role of the audience in completing the work is planned and limited according to the creator's wishes and is more close to the artist's ideas and desires. Since the creation of a hyperreal space requires requirements such as believability, computeralness, explorability, interactivity and immersion, by meeting these requirements in digital interactive art by the creator of the work and its designers, in addition to preserving the artist's idea, attractiveness for the audience of the work is also created. The lack of reference to the real world in these works demonstrates Baudrillard's creation of the hyper reality in interactive art. The interactive art invites the audience to participate and consume images and produce new signs and traps the subject and directs his thought to the subject, to create an imaginary world. The audience considers this world as their main goal and is exposed to responding and expressing the work rather than trying to underestand and judge, and the audience becomes a part of artwork and becomes an art object. The results of the investigation of digital interactive art installations of water painting and the nature of graffiti are an example of the domination of signs and the control of the audience by the codes and machine algorithms considered by Baudrillard, and a manifestation of the role of modern technology.

Peter Bruegel is one of the greatest painters of the Flemish society of the sixteenth century, who in his works has considered the cultural and historical contexts and has displayed the characteristics of his society. The way he performed his paintings introduces him as the greatest comic artist of the Renaissance and the Middle Ages. But his work goes beyond laughter. To gain a deeper understanding and a newer meaning of his paintings, one must study them in relation to the cultural context in which they are created. A dialogue is a feature of Bruegel's work that reflects the society and culture of Flanders in the sixteenth century. Bakhtin, a twentieth-century Russian linguist, is one of the most prominent theorists to have dealt with the concept of dialogue, conversation, and polyphony. The aim of the present study is to study one of Bruegel's famous paintings called "A Way to Jaljata" and its relationship with Bakhtin's views on dialogue and polyphony by descriptive-analytical and comparative methods. It is a collection of library information, and the components and elements that create the dialogue and polyphony mentioned by Bakhtin are identified, introduced, and adapted by Bruegel. The results show that this work, based on Bakhtin's theory of dialogue, has the necessary components of dialogue and polyphony, and at the same time, it has been able to show the various conditions of its society in the best possible way.The usefulness of Bakhtin's ideas should begin with a description of his understanding of the phenomenology of self and his relationships with others, which he relates to the idea of accountability and reciprocity. In this research, the components of dialogue introduced by Bakhtin in the path to Jelgata by Peter Bruegel are identified and studied descriptively-analytically. Among the elements that can be identified and introduced as components of dialogue are narration, visual contradictions, movements and moods, sound and atmosphere. These five elements are the most basic techniques and tools for creating dialogue in the painting and are very useful in creating concepts such as polyphony, equality, freedom and dealing with the other. In the painting, usually using all or part of the techniques can convey these concepts clearly to the viewer. In the present study, after dividing the panel into different spaces, the application of dialogue techniques in these spaces is investigated. To this end, to identify issues such as the number of narratives that are more conversational, aspects of narrative sound, the introduction of images that are contradictory in meaning but complement the higher concept (narrations on the basis of which the effect is meaningful), The technique of sound and movement and moods that are essential factors in creating dialogue and animating images and narrations are discussed. For this purpose, diagrams are drawn that show the extent to which conversational and polyphonic techniques are used. Each technique is examined separately to reveal the amount of dialogue. The dialogue presented by Mikhail Bakhtin is one of the factors that create a connection in works of art, especially literature.

It is always seen in different historical eras, the influence and impression between the different arts of that era. The Timurid period, like other historical periods, is not an exception to this rule, and there are many common points between the tiling decorations of this period, with simultaneous arts, especially with illustrated manuscripts. By review the paintings of the mentioned period, it is possible to see some commonalities between their geometric motifs and the tile Dadoes of simultaneous buildings. In this regard, the main question of this article is; What similarities can be found between the geometric motifs of the Dadoes of building tiles of the Timurid period of Iran and the Dadoes in the illustrated manuscripts at simultaneous in terms of geometry (knot), glaze coloring and decorations used on the tiles? The current research is based on the method of descriptive-analytical research. Therefore, the method of collecting information and data is documented and based on objective observations, includes visiting buildings, taking pictures of tiled dadoes and line drawing of samples with different software such as Corel Draw, Photoshop, etc. In this regard, with the question raised; The comparative study of the geometric motifs of the tile plinths of the Timurid era buildings in Iran, with some of the illustrated manuscripts, in terms of the type of knots, the color of the glaze and the decorations on them, is the main goal of the article. The results obtained from the study are: shared aspects from the point of view of the type of nodes; It shows that most of the knots used in the buildings of this period, especially the "regular hexagonal" knot, are comparable to the knots of the plinths of the buildings in the illustrated manuscripts of the same period. In addition to knots, this commonality can also be seen in the field of glazing colors. For example, the color of turquoise glaze used in the "regular hexagon" knot, which is the dominant color of this type of knot in the dadoes of buildings, is also used as the dominant color in the dadoes of manuscripts. In addition to the turquoise color of the jade green (dark green) glaze, which is used less than the turquoise color in the dadoes of the buildings of this period, this feature can be seen even in the illustrations of the illustrated manuscripts. The painters of the illustrated manuscripts, in the field of plant motifs as well as the gilded decorations on them, have not completely followed the patterns of the tiles of the buildings, but have created creativity and innovations in them while preserving the generality and nature of the motifs; Therefore, the motifs of tiles in the pictures have appeared mostly in a schematic and abstract form. It can also be acknowledged that perhaps the activity of painters in the field of designing decorative motifs has provided the reason for this similarity, as they worked both as motif designers in galleries and as master craftsmen in the decoration of buildings.

The horizon line is the most important element in landscape paintings and demarcates the sky and the ground. The horizon line organizes all the visual items in, both the sky and the ground sections in the picture, logically. Although drawing the horizon line is a common method in painting nowadays, analyzing pre-Timurid illustrated Persian or Arabic manuscripts revels that the artists did not know about the efficiency of the line at the beginning in 11th century. Therefore, in these paintings, both on the ceramics and in the Persian or Arabic illustrated manuscripts, the visual elements are observed suspended and weightless. Up until late 14th century when Ilkhanid School emerged in Tabriz, Persian painters used to test various drawing styles to find and regulate a specific method that enabled them to arrange the visual elements in the areas of sky and ground and eliminate the suspension and weightlessness in the space of their paintings. They invented several methods that particularly have survived in the illustrated Arabic and Persian manuscripts. These illustrated manuscripts enable us to discuss the innovative methods of Persian painters. Including the sky line, the basin level, the frame-level and the ground line are the most frequent methods used in these manuscripts. Finally, in the 14th-century-Tabrizid manuscripts, the horizon line appeared. Achieving this appearance, the Persian picture space both in the ground and sky expanded logically; as a result, the visual elements in these spaces started to seem more grounded and as if possessing weight; diverse visual levels were arranged on the ground and the vertical perspective emerged. This article focuses on the details of those primitive methods mentioned above, which led to the appearance of the horizon line and the results of this. The article analyzes more than 30 illustrated ceramics and 300 paintings in 40 remarkable manuscripts from the 11th to the 14th centuries and concludes that: In the sky-line method, a blue curved part was used in the highest section of the painting as the sky. In some paintings, a line near the picture frame in the lowest section of the painting made the second part represent the ground. Between two parts, the largest segment of the painting used to get located where in all the visual elements look undecided and pending. In the basin-level method, the most important part of the painting is a basin that is represented by a blue surface decorated by plants and rubbles. Other visual elements are arranged around the basin. In the frame-level method, the lowest part of the frame picture, as the ground level, carries the visual elements. In this method, the biggest part of the painting forms an unaffected background. Because of this background, the represented space does not have any perspective. The ground-line is the most practical method. In this, the narrow surface, almost colored dark green, a little above the bottom line of the frame picture plays the role of the ground and caries all the visual elements.

Participatory design is one of the practical approaches in many fields of design, including industrial design. This approach generally refers to activities in which all stakeholders find the authority and power to use their ideas to design new solutions simultaneously. But participation and cooperation with users have always been involved with many challenges. So researchers do a large number of studies to provide solutions in this field by introducing new methods. Introducing the method has become one of the most common ways to introduce this approach in academic activities. In other words, methods as a field constitute most of the current knowledge space about participatory design. The volume of these studies is so broad that it probably confuses the relevant researchers at the beginning of their work. But despite this wide range of researches, the authors did not find a comprehensive research with the aim of accessing an integrated set of methods or principles. For this reason, the main question of this research is related to identifying the basic principles in the implementation of the participatory design project and investigating the relationship between these principles. In this regard, this study aims to present a set of general principles for implementing the participatory design approach and to reach a new and integrated interpretation in this field, which is done through the synthesis of the results of previous studies. In this direction, a qualitative study using a meta-synthesis method has been chosen as the research method which is carried out through three stages of coding, namely, open, axial, and selective coding. The meta-synthesis method is a type of qualitative study that uses the findings of other qualitative research in a specific field as data. This method can help social science researchers in developing and creating theories by synthesizing the results of previous studies. In the first step, searching for documents, based on four criteria including appropriate keywords (participatory design, principles, method, model, and framework), historical range (from 2000 to 2022), databases (Scopus, Taylor & Francis, ScienceDirect, ACM, DL) and the type of documents (books, articles, and treatises) was done, and 56 valid documents were obtained based on this. In the next step, among these documents, based on two criteria (the quality of the studies and the comprehensiveness of the proposed method, model, principles, or frameworks), 10 documents, including 9 articles and 1 book, were selected as the final input documents for conducting the study. Finally, as a result of the synthesis of the selected studies, eight categories were obtained as the implementation principles of participatory design, which are: clarifying participation, empowering participants, creating a platform for participation, matching the components of participation, stimulating participation, justice in participation, managing the results of participation and sustainable participation. In the end, the conceptual relationship between these categories was examined and eight specific types of relationships between the categories were identified. Also, by presenting examples of participatory projects, the application and fields of use of the eight proposed categories were explained.

Abnormality as one of the expressive tricks and methods of highlighting in the world of literature and art means going beyond the normal and familiar standard, after which the audience is delayed in the face of the work and the meaning is delayed. The place, role and importance of aberration in literary and artistic texts is such that critics have examined it from different angles and in this regard have also offered theories and models that Leach seems to have been able to provide a relatively comprehensive model. Therefore, due to the familiar and ambiguous nature of modern painting, the purpose of this study is to identify and analyze the types of abnormalities in some modern paintings based on the Leach model. Contrary to the familiar and conventional methods of expression before them (the Renaissance tradition), modern painters tested new, unfamiliar and abnormal methods of expression. Modern painters break the boundaries of the common visual system and the definitions and techniques of the art of painting, and by creating unusual, unconventional, complex and ambiguous images, they cause the audience to reflect, focus and think. In fact, they have tried to see the world in a different way and to portray it in a new way, and in this way, lead the audience to receive a new visual and semantic experience. This is why we encounter all kinds of highlights and norms in modern painting. Abnormality as one of the methods and techniques of de-familiarization and on the other hand the stylistic features of literary works means deviation from the norm, the usual way, conventional and familiar. The question is, which of Leach's norm-avoiding methods can be identified in modern painting? The method of this research is descriptive-analytical and comparative and information is collected from library sources. anomaly pattern in the composition of a modern painting can be identified. From this point of view, in modern painting, we encounter the emergence of some of Leach's desired aversions. Modern art is known as a new method and expression tradition in the history of painting, whose artists broke the norm by violating the common pictorial tradition. Just as the writer or poet violates the phonetic rules of the standard language by using indigenous elements, so do modern painters achieve this through the use of indigenous images and shapes. If the poet or artist escapes from the syntactic rules of language by displacing the constituent elements of the sentence by considering the artistic elements of the sentence, in painting, too, the artist achieves syntactic aberration by displacing the forms from their original place., if the spelling of a word is inconsistent with its pronunciation, textual aberration is used, the same thing that happens in the art of painting by disrupting the structure of shapes, a semantic aberration that in literature means a kind of deviation in sentence construction that is visually equivalent. It is in such a way that a visual element is used in the painting frame contrary to the conventional semantic rule.

Single Iris bushes can be seen in many flower and bird miniature of Shiraz painters. This flower grows in the region of Susa. The region of Susa or Suzian has been so named because of the growth of Iris - in the west and southwest of present in the Elamite period, and has a religious connection with the Elamite goddess and has a symbolic aspect in the culture and art of ancient Iran.  Also emphasizes the belief of the people of this region in the mother-gods and Iris can be known in the Ural language “As the land of the Aryans”.  In the islamic period, due to the prohibition of portraiture, the use of the role of Iris (Islamic) in the decoration of places such as mosques and elements that add to their architectural nature such as water(pool) and light(skylight) is a continuation of the traditions of temples and crypts of worship of the goddess Anahita. The aim is the genealogy of the Iris flower and its connection with the gods in the art of ancient Iran and its transformation in the Islamic period.  So what is relationship between he celestial Iris and the goddess Anahita?  And how did its transformation into Islam manifest itself in the Islamic period? And what is its place in Safavid to Qajar flowers and birid miniature? The research method is descriptive and analytical and data collection is library and electronic. The findings show that the Iris is known in pre-islamic texts as the guardian of the plant and water on earth, Along with the goddess Anahita, with two amshaspands of “Hwrtat” and “Ameretat”. In the art of ancient Iran, the role of the Iris along with the Lotus and Ahuramazda, formed the holy trinity of the Iranians and confirmed their religious aspect by appearing in the murals of the stairs of apadana palace. In the Islamic period, artists established the abstract role of Iris in Islamic, Islimi or Arabesque Form in religious places. From the Safavid period onwards, when Iranian painting tended towards naturalism, artists used western painting methods and applied it realistically, not only in murals and marquises, but also in the texture of fabrics. Examining the composition of Irises in lacquer works, it can be understood that the artists of the fitrat period had some knowledge of the characteristics of two flowers of the Iris and the lily. as well as the poems that we see in the margins of these roles that contain words such as "mirror", idol (goddess of Pinikir), ornament (Anahita's feature in Aban yasht), seal, light, wheel (sky), moon (goddess of sin), sitting on the mirror (emphasis on the moon), divine kight (Mitra), the shadow of god the connection between Mehr and Anahita, which is between water and light, can be understood. Light emerges from three sources (sun, moon and stars). It can be understood that these lacquered mirror cases & book coovers in the Zand and Qajar periods (the school of flowers) were an emphasis on Anahita's identity.

This study is concern with the culture of conserving and sustainability. Many of the issues such as air pollution, water scarcity, and epidemic diseases that threaten human’s life today have root in the environmental damage. Therefore, paying attention to the environment and its related problems are very important. Not only preventing the waste of natural resources by the current generation is necessary, but also preserving the nature and its resources for next generations is our duty. As today’s children are tomorrow’s adults that will shape the path to the future society, special attention needs to be paid on educating them. In addition, the impression of learning in younger ages is long-lasting. Therefore, adolescents were chosen as the target group for this research. The aim was to encourage them to respect to the environment and learn how to save the valuable sources. The main principle of sustainable design is to establish a balance between environment, society and economy. Saving energy is a vital issue, that plays an important role in establishing this balance. The culture of conserving refers to beliefs, orders, values and behaviors that substantiate the concept of conserving. In today's modern world - more than any other time - it is crucial to raise general awareness on the importance of sustainable development. And design techniques seem to be effective and influential tools for the development of culture. For the purpose of building and developing the culture of energy saving, extensive studies regarding sustainability, culture and children as end-users were conducted. Then a field study was carried out to identify the degree of adolescents' comprehension in terms of living environment questions, understanding their mentalities and the degree of their involvement in this area. This study was performed on 150 boys and girls between 11 to 14 years old. For this aim the Brain writing creative technique was used. The relevant feed backs were analyzed statistically by using Excel software. The results demonstrated mentality of the students regarding energy saving and preserving earth resources, which could be used as a pattern for designers to obtain better understanding about the users.  Although the students did not know much about the sustainable design approach, they mentioned it several times in their ideas. In the results it was clearly observed that girls and boys had different approaches towards the problem. For example, girls did not suggest any political solutions, while boys did not refer to any emotional viewpoint. The girls’ ideas and suggestions for saving the planet came more from their subtle feelings, while the boys had a more logical views toward the subject. These small differences could be translated into very important and effective details in product design, which could lead to the production of appropriate products for each gender, age and group. Based on the students’ ideas, few concepts were generated and one was selected as the final concept, which was converted to design and was evaluated by students. The results of evaluation showed that students were satisfied and liked the designed model.