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سال چهاردهم شماره 49 (تیر 1396)

Education and educational spaces in any eras have had a significant role in the growth and development of communities. Schools are the best-known educational spaces, which were undergone essential changes over time in various fields including architecture. Thus, it is important to evaluate these changes during different eras. The lack of spatial qualities and replacement of other segments are our schools today problem, compared traditional schools. In other words, the qualities existing in traditional schools are absent in architecture of today’s schools, and the other elements were replaced. Studies that have been conducted regarding schools to date show that less attention has been paid to architecture and content changes of schools, and their cause during different periods. Thus, it is necessary to evaluate these developments and their reasons. This paper tries to examine these developments and their causes. The aim of this study is to evaluate changes in the architecture and content of schools and the relationship between them in the traditional, transitional, and modern era in Iran, compared to each other. In this study, a comparative-analytical research methodology has been used. Library studies were used to collect data. Dodar, Chahar Bagh, and Aqabozorg schools, from traditional era, Darolfonun School from transitional era and Markar School from modern era were selected for comparative analysis purposes; then the required indexes determined for comparison and the evaluations were carried out. According to the hypothesis of this study, compared to the traditional era, architectural developments in Iranian schools during the transitional and modern eras are mostly affected by their content; nevertheless, results do not support the hypothesis and therefore, it was rejected. The results showed that the architectural changes and the pattern of Iranian schools during the transitional and modern eras compared to traditional era were associating with an abstraction-oriented imitation from the architecture of the West and the lack of traditional schools spatial qualities in the architecture of modern schools. Therefore, the same applies to the elimination of the residential section and the contents had no effect on these changes. In this way, the Iranian school has maintained the traditional pattern until mid-Qajar, but since this era onwards and with the establishment of Darolfonun and utilizing the West architecture, the architecture of schools were change. In other words, the new structures of schools during the transitional and modern eras, was a European imitation through eliminating the residential section (school-chamber) and converting to the (school-corridorclass). Thus, the spatial qualities of traditional schools were eliminated, new elements were replaced, and modern schools with new architectural were formed.

Taziyeh as a ritual performance is an ancient art. Its present form originated during Safavid period and became popular in Qajar era. Taziyeh has often tried to interact with the common audience in order to convey meanings and thus be more effective. This art form is known to be the basis of the principles of contemporary Dramatic and Performing Arts. As a part of New Art, in the late 60s, Performance Art applied philosophy, visual arts, postmodern theories and theatrical elements to convert a static art into a dynamic one, and thus developed the concept of communication and interaction with the audience during the course of time. Therefore the main problem of the research is as following: Is it possible to compare Taziye and Performance Art within the body of Performing Arts and hence ascribe similar functions to both, related to the amount of audience interaction (the amount of communications, the similarities and their overlapping)? Depending on the hypothesis of this article, the two arts are related according to the definition of New Art within the context of the audience participation; it means both are audience-centered. The main purpose of this study is to identify a new approach in the field of Traditional Arts, and the secondary purpose is to accept Taziyeh as a traditional art being parallel to the new art of Performance, on the basis of audience participation features. In spite of the insignificant amount of its followers in Iran, this viewpoint is as old as postmodern history and may expand the perspective of the artists. Therefore, a descriptive analytic method is applied and the information is gathered through library documents. Studying the most common and outstanding characteristics of these two arts, we have concluded that since there exists overlapping and similarities between the two arts in the field of audience interaction and participation, Taziyeh could be considered as Performance Art, and certain other traditional arts as the foundations of New Arts.

Privacy, as the process in which humans regulate their relation with the others and achieve the experience of introspection, can be reached in the ‘house’ more than everywhere else. This phenomenon and its realization in the life world of house is studied and analyzed in this essay. There are various definitions of privacy from different points of view, but they mostly confirm that privacy is a spectrum as a concept. The basic hypothesis of this research is that failing to pay attention to the spectrum-like nature of privacy in designing living spaces especially ‘houses’, has on many occasions caused such spaces to be built by considering only one aspect of such concept. ‘Individual privacy’ and ‘collective (group) privacy’ are on both extremes of the privacy spectrum and two equal aspects of one nature, and they must be considered simultaneously for the optimum realization of privacy. Giving priority to either of the aspects or ignoring each of them can result in mental or social damages and turn the atmosphere of the house into an ineffective place in the extensive provision of the needs of the residents. Assuming a qualitative approach on the basis of interpretive historical method, this research has analyzed the realization of privacy spectrum in the two groups of pre-modern and modern Iranian houses. According to studies, a one dimensional/one faceted approach to the spectrum nature of the privacy in either group of the houses has led to the elimination of some territories. So either of personal/ individual identity and collective identity is bold in one of these two groups of houses. Therefore, the all inclusive consideration of privacy spectrum and trying to achieve all of its aspects can be considered a comprehensive approach.

Impacts of modernism on urban spaces can be observed in specific historic periods of Iran cities. This issue is important because these public spaces have undergone scale and performance alternations. Tehran, as the capital of country and as the showcase of alternations, has been the symbol of modern city and today is exposed to increasingly accelerated changes. As one of public spaces types, commercial spaces have concurred Tehran and dominated other functionalities. Due to increasing application of commercial spaces, this paper studied their development trend from traditional bazars to specialized markets, centralized stores, malls and the like. Therefore, the aim of this study is to investigate the growth and development trend of commercial spaces in Tehran. This is a qualitative and descriptiveanalytical research in which data collection tools such as documentation, library and field surveys such as noncooperative observation were employed throughout the city. ArcGIS software was applied for results’ analysis. For showing the spatial development trend of commercial spaces in different periods, maps were used. The results of study revealed formation of different commercial centers from the beginning of contemporary era in different forms which can be classified into several groups. First, the commercial centers and commercial unitsof Tehran were in the form of single-core units and then linearly developed around the central cores (streets and new markets); afterwards; they exhibited themselves in the format of new specialized markets. Spatial forms of this functionality in Tehran, from traditional form of bazar in the center to specialized markets in the surrounding regions of Tehran, reflect increasing demand for these spaces and also shortage of growth space. The results also revealed that formation of these markets, regarding spatial limitations in Tehran, will be enhanced in the surrounding areas of Tehran. Spatial alternations of commercial applications in the cities highlight the role of urban planning and introduce commercial application as a crucial driving force in formation of cities.

By the end of the 19th century and beginning of the 20th, rapid technological changes, increasing urbanization, and the login art to Urban Space, everyday lives of the people bounded to the ‘public spaces’. Hereby, new ‘institutions’ were in need, and ‘city’ turned into one of the fundamental problematic sites of inquiry for artists, urban planners, designers, architects, politicians, and every individual citizen around the globe. In 1920s, as one among many solutions to the problematic of the ‘cities’ and ‘citizenship’, ‘public art’ increasingly caught the attentions and preformed an undeniable role in the everyday lives of the people. As an analytical-comparative analysis, this inquiry analyzes urban spaces in two main public spaces in Thailand and Iran comparatively: Lampini Park in Bangkok and Elli Park in Tabriz. From structural perspective, the two are significantly similar; which makes the research justified methodologically. Despite the similarities such as the area of Parks, having lakes and being constructed in the same time, the comparative analysis, based on the analytical components, illustrates that the spaceshad been used differently. Contrary to what the analysis the Lampini Park in Bangkok shows, there is no distinction between the interior and exterior structures in case of Elgolu Park in Tabriz; which means the designers faced two different spaces with one single logic and mind set. Not only cannot meet the requirements, but also is caused special confusion and disorder as well.

According to the approaches of landscape aesthetics developed in the twentieth century based on environmental psychology and experimental works, landscape and urban planning is of high priority . On the other hand, the effect of aesthetics on the perception, experience and changes of landscape is highly highlighted. According to researchoriented perspectives, aesthetics is very important for perception and experience of landscape. Aesthetics also affect the changes of landscape. Nowadays, aesthetics plays a significant role in the landscape architecture and is used as a driver to change the landscape in term of cultural values, social justice and environmental rights.. Aesthetics provide a new form of sustainable landscape and contribute to beauty, acceptance and make sense of the landscape. The objective of this study was to find the paradigm of landscape aesthetics in the future. According to the qualitative data of previous studies, to understand future researches in the field of aesthetic landscape, three different approaches should be concerned that are described in detail in this study. These approaches including phenomenological, psychological and ecological can shape the general paradigm of landscape aesthetic and determine the direction of the future researches in the field of landscape; therefore, this paper tries to answers these questions: what are the new approaches to study the landscape aesthetics? How these approaches can be used to shape the researches in the field of landscape aesthetics in the future? This is a descriptive-analytical study.. In this study, scientists’ views and intellectual typology of the past century have been collected by analysis of the approaches mentioned above. If the phenomenological approach is perceived as the exchanged type and the ecological approach as a holistic one, psychological approach is as psychological and evolutionary approach. According to the results of study on the future researches on landscape aesthetics, the approaches mentioned above are neither incompatible nor consistent. These approaches complement each other, but explain different aspects of landscape aesthetics.