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سال یازدهم شماره 30 (پاییز 1393)

Lack of attention to urban deterioration leads the city to move toward immethodical out-spread and leaves the inner part of the city empty. Inside- empty city becomes the habitat for newly arrived immigrant settlers، poverty، deprivation and social damages. Global experiences shows that metropolises of the world have been successful in creating vibrant and suitable spaces by taking strategies which can be adopted based on their national conditions as well as benefiting from their opportunities and strengths to be dominant over inadvertent development. Imponderable development in Tehran for the purpose of creating towns، suburbs and new self-created settlements has marginalized the central city textures. On the other hand rural and marginal urban flows of immigrants from the low-income levels of the society to the central neighborhoods have eventually increased the urban deterioration. In this regard، taking appropriate urban development strategies which will internally and marginally root out the problems of urban development is essential. The SWOT technique is utilized in this research is to identify strengths، weaknesses، opportunities and threats of metropolitan developments and to discuss its effect on deteriorated textures of Tehran city in addition to using statistic data (by request) for analysis of the flows. Research process of this essay is as followed; firstly the characteristics and problems of metropolitan development is studied and scrutinized to find out the roots of existing problems and build a hypothesis based on understanding of the issue. Moreover، field investigations and evidences through interviews and questionnaires on citizens and responders across district 10 are conducted to answer the considered questions and evaluate suppositions and solutions offered for the exiting problems. Results of this research indicate the fact that Islamic revolution has played the major role in changing Haft Chenar neighborhood since the development of marginal areas and expansion of informal construction in Tehran reached a peak during the early years of the Islamic revolution. Tehran out- spread development has caused inadvertency of city central neighborhoods including Haft Chenar and this process has pushed the neighborhood to deterioration. It has provided habitation for huge number of immigrant and rural settlers in the city suburbia deteriorated regions as well as Haft Chenar neighborhood. Continuation and expansion of neighborhood deterioration is the result of two fundamental problems: First، problems of low-income households causes lower rate of paying for urban utilities، lack of public participation in improving the environment and an increase in the hardship of household economics. Another problem is that this neighborhood is one of the most dense and deteriorated areas in district 10 vulnerable to earthquake. Low economic strength prevents residents to renovate or retrofit their residential dwellings. Therefore، this assumption is proved to be correct so that the unarranged Tehran development has led to the neglect of the city''s tissues and the development of peripheral settlements from one hand and the flow of immigrants، the poor and low-income families to these urban areas on the other.

Garden and gardening convey wide range of meanings in Iranian culture so that the Iranian world is full of the manifestation of gardens and nature. Persian garden can be deemed as the most admirable outcome of aesthetic and naturalistic principles of Iranian culture، which can be traced in variety of Iranian arts such as pottery، tile work، carpet، music، poetry، literature and Persian miniature. Among these، the art of miniature is one of the main arenas for multiple imaging of Persian Garden. Miniature has been the subject of several surveys. There are many research works on fine art in which the miniature works have been examined in different fields such as aesthetic، technical، historical ones from the art of painting viewpoint. What differentiates the present study is that it approaches the art of miniature and Persian garden from the Iranian landscape architectural standpoint. Given the paucity of similar works in this field، studies like this may have considerable potential in proposing novel theories pertinent with miniature works that picture Persian garden. This also helps improving our knowledge of Persian garden in different historical periods. Miniature works constitute a notable portion of historical documents and visual sources. Knowing that the subject of the works is based on the observations of the artist، these works cannot be isolated from the realities of their environment at the time of creation. However، there are other factors to take into account including natural limitation of painting work، prevailing style at the time، and the artist’s attitudes. Thus، to achieve better results through the survey of the relationship between Persian garden and miniature، some of the pertinent miniature works were needed to be examined along with library research. In majority of miniature of indoor design of houses، castles، and mansions، the main object in the work is the building and notable persons. These works are easily notable and differentiable from the miniature of outdoor spaces and those that picture a garden in particular. A common element in majority of miniature of outdoor spaces is the Nazargah، which plays the main and an outstanding role. The present study assumes that picturing the general design of the garden and the key geometric features of the structure were not the intention of the artist، so copying the actual design of the garden was the last intention of the artist. In fact، by picturing pavilion and Ivan– as the main elements in Persian garden، the artist has tried to employ external and internal landscapes of the garden to create a different and with more details picture of Persian garden. The purpose of this article is to identify the main manifestation of Persian garden in the miniatures with pertinent subject. To achieve this، some of miniature works from different historical periods have been examined (to avoid one-dimensional approach of a specific period). Trivial changes in the concept and design of Persian garden cause no problem in surveying the miniature works from different periods as the concept and image of Persian garden have survived the ups and downs of ages. The question raised by this study is “what is the most outstanding and noticeable elements of Persian garden in the miniatures of garden?” To answer this، the environment، nature، and garden in the miniatures were first assumed as the bases of the study. Afterward، by analyzing 10 miniatures and comparing the results with library resources and documents (descriptive-analytical method) different manifestation of Persian gardens in the miniatures were divided into three; 1- Pavilion garden، 2- Bagh Chador/ tent garden، and 3- pavilion (as the viewpoint of the garden to external landscape). Gardens design has been always featured with palaces، pavilion and Ivan so that the design، shape، and location of pools، water display، and Sofe at the entrance were based on these main elements. Furthermore، these elements are the key elements in the miniature works of Persian gardens. The design of pavilion has been always a mixture of open spaces with several balconies at different directions to permit use of the open space. The pool or water display and other natural elements were the main elements viewed from the pavilion. Although the geometric symmetry of the garden are absent in the miniature، still the presence of the main element (i. e. pavilion، which have the best view in the garden) argues that the aim of the artist was to picture Persian garden; this is an answer to the question of the study. In this regard، among the all elements of Persian garden such as water، plants، human، etc.، the most featured elements are the structures designed to enjoy the view such as pavilion، Ivan، Sofe، tent، and so on (in general term “Nazargah”). This supports the hypothesis of the study which states “Nazargah as the main pictured elements in the miniature of Persian garden.”

Definition of art is a specific form and shape of social consciousness and its aim is to reflect the reality correctly and multilaterally for the purpose of reaching the aim and loftiness which has passed a very tortuous and difficult way. What has caused evolution of urban arts is creating the pictures which have full resemblance to the reality، because they have public addresses and are seen in the paths of the city and daily passing of life. General art are meaningful activities that can be recalled as art. This art has been shaped in the city space with public investment or by persons and is paid attention by the public and it is appeared with a clear aim and in the form of general activities of the city. “Urban art” as an activity combined with urban space is the “environmental art “which shows different types of general art in close relation with the environment and people in connection with urban space. Each of the characteristics of these arts will be changed to some parts of visual culture of that environment during the time. Urban art is an independent artistic style which is performed in the urban life and by artists in the city space. This street art with expressing the culture of a nation is used in visual arts، architecture and urban planning fields. Urban art in India is specified with the place which is the same general space of the city. It seems that the urban art in general spaces of India is dependent on its native and religious fields and this coordination with the field have caused giving identification to it. Merging different religions with different behaviors and customs forms the greatest and main part of social life in India. The most outstanding symbol of religious group is the statues and type of their stowing and their spatial formation which give them a meaning further than quantitative and decorative beauty and is revelation of the beliefs of people. Each one of these arts represents a special custom in India and is accountable for the cultural and ceremonial requirements of its society. The main aim of this research is expressing religious and ceremonial fundamentals and meanings manifested in urban art of India which different ceremonial thoughts have manifested in them during their life time. It is tried to study the samples observed and selected in India and with considering the cultural and ceremonial instants therein، and to emphasize that the main aim and existing heritage in urban art of India has a root in ceremonial thoughts of the people of this country. Extensive association of people of India with the religions and cultures appeared therein meet spiritual and physical requirements of its inhabitants، and this matter has caused its survival and continuation during the time and characterizing it in form of a united collection of urban art. With the help of recognizing artistic structure of India in its urban aspect، one can find a correct category of performance and beauty aspects of this art in urban region of India.

Natural ventilation is one of the most effective factors in thermal comfort. According to the importance of nonrenewable energies such as fossil fuels and the increase in recent environmental pollution، ventilation plays an important role in buildings. Using air flow، reducing humidity and increasing surface evaporation، creates comfort condition in hot and humid climates. The city of Dezful، due to its special geographic situation، topographic conditions and the environmental systems، devoted particular climate Conditions to itself; so long-term warming has caused many problems for the citizens. In Dezful- as one of the warm and humid cities- builders have applied conglomeration soil to build a space at the depth of 5 to 12 meters underground to moderate and adapt the house climatic conditions. This underground space is called Shavadoon which is one of the suitable approaches to create thermal comfort by using earth annual temperature stability and natural ventilation. Earth temperature is less than outside temperature in the summer and higher in the winter. Expect the Caspian، Persian and Oman coasts، Iran old houses have basement often، and especially in the summer، dwellers went into the basement for thermal comfort. To recognize and analyze the natural ventilation condition and main effective criteria، twelve houses which have Shavadoon have been studied first; Based on this study the depth and area of Shavadoon، Darizeh -Darizeh is a pit 1 meter in diameter in order to supply light & vertical ventilation in shavadoons. Shavadoons reach the yard by darizeh - cross section area and geometric shape of plan are the most effective parameters on natural ventilation in shavadoons، changing the parameters result in significant changes in the air flow. On average by increasing house area، shavadoon area has been increased، the proportion between depth of shavadoon and yard area is also significant. So with more yard area the depth of shavadoon has been increased directly. Four separate phases have been taken to consider the parameters which will be analyzed separately. The results are presented in comparison. There are different ways to study natural ventilation in internal spaces، such as real-scale testing، wind tunnel and modeling approaches. In this study، CFD modeling is used by Design Builder software. The research method of this study is descriptive research and the method of gathering data is based on library and field studies and the analysis method is causal and based on modeling results. The history of this study goes back to the 1930s and early 1940s when there were plentiful interests in air conditioning engineering، caused numerous published books and articles. The air flow Knowledge inside the indoors is notable for three reasons: thermal comfort، indoor air quality and the decrease in building energy consuming. Studies show that in the last two decades attentions to the «air flow» in terms of modern science have been significantly increased. There is another article (in 2008) which defined and analyzed Dezful’s shavadoons، while a comprehensive investigation about air natural flow and the operation of natural ventilation in this place is not available. The final results show that، in the classification of the considered shavadoons which were selected to be analyzed، the maximum depth is 11. 8 m and minimum depth is 4. 7m. The desired result has been concluded from the one with the minimum depth. Darizeh cross section is another effective parameter. The calculated velocity in darizehs which have different cross section along them is better than the ones which have the same cross section. Then، the location of Darizeh was analyzed. The best natural ventilation will take place when the darizeh is placed in sahn- shavadoon center-which makes balanced ventilation along the shavadoon. Next condition takes place when darizeh is in terminal cat- shavadoons have some small rooms which are called cats- which the air flow is desirable along Shavadoon but the amount of air flow decreases in adjacent cats. Finally Shavadoons، based on their appearance، are classified in to two types، pure space (without Cat) and Chalipa space. The results of analysis showed air flow and air circulation was better in pure space، however Chalipa form is better in structure and architecture.

The natural elements have always had a valuable role in the life of humans، especially in the formation of living places. Today human in most cases is seeking for destructive domination of nature in order to meet the needs which potentially and without understanding incidents or legal bounds (which are mostly legislated inevitably) are interminable. On the other hand، today due to various cultural and economic reasons، houses have been changed and are not yet the places for performing diverse relaxing practical activities and saving nostalgic memories in which، compared to traditional houses، the environmental perception and sense of belonging have been decreased. Thus، three focal points are the primary motivations for the formation of this paper: 1- Considering the nature and the necessity to revitalize the positive interactions of human with nature 2- Considering to reduction and in some cases lack of sense of belonging in today’s houses 3- Considering to the rich architecture of Iranian traditional houses، understanding and taking advantage of its resultful structural rules In the recent decade، the three major issues considered by this paper which are nature، sense of place (especially for houses) and spatial structural specifications of Iranian traditional houses alone or in the dual relationship with each other have been considered and studied by scientists especially the theoreticians of behavioral sciences and phenomenologists. This paper looks at the reasons and types of relationships among these three issues and studies the effective indicators and tries to: 1- study the presence of nature in signifying and creating sense of belonging to the place. 2- Investigate the crucial factors and conditions for the presence of nature in the promotion of sense of belonging to the place in Iranian traditional houses so that، by understanding them، in the process of today designs and especially the residential ones، a deserving position would be considered for nature beyond what is considered today in terms of visual relation. The studies of theoretical section (the first part of study) are based on documents and texts sources. In the second part the results from experimental objective observations regarding the quality of presence of nature، spatial structural specifications of traditional houses and also beliefs and mental processing of the residents of these houses are used to indicate the reasons and conditions for promoting sense of belonging resulting from human interaction with nature in the field of traditional house. In the procedure of the research، first by considering the environmental psychology literature، the qualities forming the identity of place and components affecting the environment’s perception are studied. By taking into account the data of above theoretical discussions، it is indicated that each phenomenon can be assumed as a critical variable in the creation of sense of belonging via three components: 1- ability to activate all senses، 2- responding to inter-environment practical activities، 3- existence of emotional semantic aspects in the human’s subjective perceiving background. On the other hand، the quiddity and semantic position of nature in the literature of contemporary architecture and also Islamic ideology (that a traditional house is formed in that culture) are investigated. By taking advantage of indicators and their accordance with sensational، practical and semantic potential capacities of nature، it is demonstrated that the presence of nature improves place perception and sense of belonging to the environment both in the viewpoints of contemporary theoreticians of the religious views and religious traditionalists. In the second part، traditional houses are studies as field and spatial structures containing place perceptions in order to specify the structural specifications which highlight the presence of nature and its effects. Finally، it is concluded that result-giving and increasing in being accountable to the various activities and semantic sensational needs in qualitative and quantitative terms and improving the sense of belonging to the place are dependent on simultaneous and continuous presence of a specific condition in all three elements of human، nature and traditional house which in a circular action results in more respect and protect for the nature as follows: 1- nature with diversity in presence in the form of triple forms (primary، secondary and abstract)، not being limited and selective for presence، continuity and permanent repetition while depending on time، 2- the residents of Iranian traditional houses with strong semantic faith backgrounds toward nature and mental readiness for achieving the meaning from interacting with it، 3- traditional houses with specific architecture، physical diversity of spaces (open، semi-closed and closed)، introversion and spatial privacy as an appropriate field for intensifying quantitative and qualitative presence perception of nature.

Urban tourism، which has become today one of the world’s most important industries، have been addressed not only because of its economic aspects but also due to its aspects of introducing the history and culture of different cities. Due to its great potential and various kinds، urban tourism could be an appropriate choice for a variety of development and for enhancing the desirability of urban life with designed and humanized cities. Today، choosing the right approach for the industry is an important challenge in the field of urban tourism which will be discussed. This study is trying to investigate the characteristics of urban landscape as a landscape approach to the city and to identify successful tourism which is the result of the role of landscape approach to the urban landscape. According to landscape essence، we can say landscape approach to the city is included in every various aspects of it such as spatial- temporal، civilizational- historical and objective- subjective and makes sense of urban phenomena in a general way and in relation to its history and natural environment. In this approach، the city is regarded as a living creature that does not require physical intervention. In fact، the urban landscape as a kind of landscape that deals with the issue of town and city life is looking to catch the measures to enhance the quality and utility of towns and people’s perception of them. This approach has also given continuity and preservation of the culture and history of the city and keeps it connecting to the history and gives it true identity. On the other hand، tourism has become one of the most important economic activities in developed countries meanwhile there has been a fundamental change in the concept and is pursuing different goals. Today، urban tourism has become one of the objectives and expectations of tourists and has become a factor for understanding the history، culture and collective memory and cognitive elements of the city. So today، the urban tourism industry not only to fill the leisure times، but also as an arena for cultural identity and urban areas is discussed. For this reason، from now partial strategies can`t be responsive to the urban tourism requirements، But landscape approach due to its characteristics and features، has the capacity to become a factor for the success of the tourism industry in the city according to cultural، historic and landscape aspects of cities. Due to the urban landscape sense، appropriate perception of the city has been accrued by people and urban tourism would be fulfilled. This approach with addressing the community not only does not disrupt the function of the citizens، but also creates social interactions، stimulates the economy، causes technological exchanges، and enhances the welfare of the city so the city is co-owned by citizens and tourists.

A large part of Iran has dry and rough climate. The middle، north middle، south and semi-east parts of the country are occupied by two large deserts; “Kavir” and “Lout”. Taking residence in the margin of these two phenomena has always had great challenge. Their residents have taken actions for construction of gardens and Kushk (Pavilion) for being far from dry weather and the scorching heat. Valuable samples are detected and studied from the historical period before Islam. In the middle and the end of Islamic centuries، a few dynasties، such as Ghaznavid، Seljuk، Timurid، and Safavid kings and even the next periods، had ordered for designs and executions of large gardens، some of which are still remained in Iran. From the early centuries of inclusion of Islam، however، some valuable samples have been remained from Omavid and Abbasid periods in Damascus، Andalusia and Iraq، in the eastern part of Islamic Caliphate and the present Iran. Few evidentce is left despite of credited reports of Narshekhi from the 700 places of Rabaz in Bukhara from Samanid، mentioned by Estakhri and the unknown author of “History of Sistan” in construction of Kushk and gardens by Saffarid kings in Rabaz and outside the gate of cities; such as Zaranj and Bost and confirmation of continuous residence of Ghaznavid kings in Kushk and suburban gardens in the words of Beyhaghi. Therefore، detection of a building which belongs to that period is critical. Outside the Bam city in Kerman in South east of Iran، recently a building is detected that is considered as a valid witness in this regard. The building is located 1600 m. from south east of Bam Citadel، called Rahimabad Kushk. Some scholars have attributed the time of its construction to the 4th AH/9th AD. Another has assumed that this building as one of the works in Seljuk or Ilkhanid era. Although its charbagh has been mentioned in few previous researches، there is no information on its size and the source of its water supply. In this study، it is tried to propose a more precise data for the building and also the size and its water supply upon studies based on environmental evidence. The construction model of this brick building is extroverted Noh -Gonbad (nine domes)، which became the standard for the construction of charbagh Kushk from Sassanid era. However، the primary steps for modeling “9-part” buildings were experienced by Achaemenid architects in the form of Apadana and after that in Islamic periods the planners and artists celebrated their ability and art in building this model. At the end of the century، such buildings became popular by the name of “Hasht Behesht” which has displayed the maximum harmony with the plan of charbagh. The Rahimabad building is also the central Kushk of a large charbagh. The peripheral evident indicates that its area has been about 80 hectares. The water supply of this project is the aquifer behind the “Bam-Baravat” fault which is designed via two aqueducts before reaching the garden in a pond with the current name “Hezar Ordak”. Provision of an appropriate area of the potential land، closeness of this place to Bam Citadel، relative closeness to rich resource of underground water and the possibility of easy exploitation and transmission of that، and the safety of this point when encountering seasonal floods are the most important reasons for selecting this place for planning the project and undoubtedly the possibility to take advantage of such condition has been in the hand of the most powerful political character of the region. Architectural specifications and reports of ancient texts and historical geography confirm the construction of this building at the 3rd AH (9th AD). By taking into account the indubitable domination of Saffarid kings (3rd & 4th AH/9th & 10th AD) on the Southeast of Iran and the efforts of Amroleith for development of Kerman in that time and selection of Bam city by its agent، Mansour-Ibn-e Khovardin (267-287AH/881-900AD) for the governance of Kerman، this writing proposes the construction time of Rahimabad palace to Saffarid era and Mansour-Ibn-e Khovardin as its employer.