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سال شانزدهم شماره 70 (فروردین 1398)

Problem Statement:Today, many cities suffer from social- economic life stagnation having led to the reduction of attractiveness. In this regard, culture representation in the culture-led urban regeneration process has attracted the attention of urban managers as a new solution. This process is argued to be able not only to solve many of the existing problems, but also to prepare the cities to enter into the competitive arena. Therefore, it becomes crucial to recognize the concept of culture-led regeneration and its influential components and principles on urban competitiveness. This study attempts to extract and analyze the principals involved in the success of the culture-led regeneration process in the direction of competitiveness by examining the concepts, theories and data obtained.
Research This applied study adopts a descriptive and analytical approach to research. To this purpose, data from the field and different sources were gathered and analyzed. The research is also qualitative. Samples of the study were collected purposefully and data were analyzed through content analysis. . Research findings show that culture-led urban regeneration, using culture as a catalyst, tries to prepare cities for competitiveness arenas and promote their competitive advantages compared to rival cities through four components including creative and cultural industries, placemaking and creation of cultural neighborhoods, cultural tourism and event-orientation and city branding.
Based on findings, this goal will be achieved by applying seven principles including generating axial capital and creating culture, developing creative and cultural industries, establishing networks and creating urban attractions, enhancing the sustainability of culture-led regeneration process, advertising and developing international relations, promoting culture-led competitive branding and creating competitive and profitable places

Problem statement:Urban population rapid growth and driving forces have led to the rapid urban transformation, which transforms the form and structure of cities, in the continuous process. Always the urban transformation has adverse effects, especially when it is happening without any plans, which this makes the urban structure of metropolis unbalanced.
One of the major transformations that have taken place in the structure of Tabriz metropolis is the increase of new urban centers with new functional roles and increasing density in certain parts of this metropolis. The result of this transformation is the unbalanced spatial development in the urban structure of Tabriz. This paper is an attempt to answer this question : How does the spatial distribution of urban centers in Tabriz Metropolis affect the spatial balance or spatial imbalance of the urban structure of this metropolis? Before answering the previous question, it is asked how urban centers are identified and analyzed?
Research The main purpose of this research is to investigate the impact of new urban centers on the spatial transformation of Tabriz metropolis urban structure during the recent decades, another purpose of this paper is to provide a scientific method for identifying urban centers.
Research This research is a theoritical- practical and applied research. Data were gathered through surveying and docments for the descriptive-analytical method and GIS is used to describe and analyze data and maps. The results of the research show that the transformation and new urban centers, as well as urban transformation and its structural reaction, have been shaped by the dialectical relationship between urban structure and driving forces (structure and agency).It also became clear that the spaces of action and power (urban structure and urban spaces) have beencreated by factors of action and power (capital and rent), in which the share of the state sector and financial institutions and shopping centers in the transformation of the urban structure have been significant. The urban structure of Tabriz metropolis has seen many transformations in its structure over the past decades, the transformation in its structure has often occurred in the eastern and northeastern parts of the metropolis, including the formation of three new urban centers (1-Abrasan 2-Valiasr 3-Baghmīṣhe-Shahid-e-Fahmideh) in these areas. The geographical and spatial distribution of urban centers has unbalanced the structure of the Tabriz metropolis, which should be considered in future urban development plans.

Problem Statement:In the global arena of contemporary art, which involves a range of interconnected events from biennales, Documenta, and international art fairs to art markets, the presence of Iranian artists in the "market" is more prominent. The contemporary Iranian art market flourished in 2006 with the collaboration of private galleries and Middle Eastern offices of major auction houses, giving rise to the most important arena to introduce the contemporary Iranian art to a global audience. The art market, which presents Iranian art as part of the regional art following its economic rules, was not a reliable source to introduce the Iranian art on its own. Works that were supplied to and traded in the market referred to signs of Iranian culture. How were these cultural elements manifested in these works? delineation and critique of the approach of the contemporary Iranian artists to cultural identity in the global market.
The authors aim to answer the question of what is the approach of market trends towards cultural identity in the contemporary Iranian art? It seems that the use of cultural identity components in the works of Iranian artists serves to neutralize and eventually commodify the cultural identity, rather than redefine it in a meaningful way through a critical or laudatory attitude. This study uses "Marxist Criticism" in a descriptive-analytical method. Cultural identity of Iranian works has lost its historical meanings, turning into a commodity devoid of any real connection to the issues of contemporary life.

Statement of the Problem: : Since the advent of Islam, the design of mosques have been really important to the Islamic architects. Its importance is well-evident in the designing of all its elements which has introduced the mosque as the most outstanding edifice in Islamic architecture. Since long time ago, mosque architectures and designers have esteemed certain principles regarding the preservation of an orientation towards the God from the beginning of an individual’s entry to the mosque till facing towards the Qibla as well as the maintenance of hierarchal movements. Thus, the most important problem of the present study is the role played by Qibla in spatial organization of the mosque. Based thereon, the issue has been investigated in the architecture of the traditional mosques in Dezful in terms of the spatial axis and movement hierarchy considerations so that the ground could be set for the designing and constructing of the contemporary mosques. According to the importance and role of Qibla in the mosques’ spatial structures, the present study elucidates the role of Qibla in the architecture of the traditional mosques in Dezful in terms of the orientation influenced by Qibla axis, Qibla-aligned entry to the building, movement hierarchy and spatial axis.
Study In terms of the method, the present study is recounted as an interpretational-historical research. The current study is also a case study that has been conducted relying on the library-documentary studies. The information and data have been collected based on a field research using maps and sketches. The analyses are indicative of the idea that Qibla has been a notable consideration in the design of the majority of the mosques in this city. This way, the spatial axis and movement hierarchies have been carefully observed in respect to the visitors from the very beginning of the entering to the mosque to taking a Qibla-facing position

In the text, In the text with the help of the footnote and the reference, we can show another presence in the narrative, but the architecture history contains documented and undocumented works which others presence in them been obviously and hidden. The controversy over the fake or adaptation of the works has been the theme raised in the last decades of the twentieth century and contemporary art. On the other hand, the struggle on the creation, influenced by the autonomy or heteronomy of works and the work adaptation against the forgery, is another concern. By its nature, the research is based on the recognition of the Allographic1 (affinity) / Autographic2 (single signature) and depends on the identification of the adaptation/forging. The research questions are: A. In the architectural discourse, how can interpret arousal caused by other internal forces? B. Where is the boundary between adaptation and forgery?The study is an applied research in nature, The research strategy is an analytical-interpretive, which relies on rational reasoning, explains how the hybridity3 and kinship the works and relates to the "intertextual" process by giving examples of Iranian contemporary art and architecture history (1940-1960) clarify the answers of research questions.
The present study shows that the process of intertextuality can be applied as a theoretical approach to architectural studies and emphasizes that architectural texts (works) are not autonomy. each work is in the dialogism between works before and after itself, but it does not mean that fake works also apply to the inter textual circuit because of the fake works, unlike the creation of the work in the inter textual process, do not insist on cognitive questions and are empty of dialogism between the works and the companion of the audience

Problem Statement: Russo-Persian Wars were one of the important factors in understanding the modern world by Iranian. Moreover, trips that made by officials to Russia, due to historical and political events after the war, were the main factors in encountering the new world and modernity. Therefore, along with long-standing interactions with Russia, and neighbor neighbor countries in various fields, it seems that by concluding numerous contracts, in addition to the increasing presence of the Russians in Iran (especially in the northern regions) and the construction of various buildings with the architectural knowledge of that time of Russia (neoclassical architecture), the Iranian proprietors have also constructed monuments with an inspirational Russian style in Iran, by observing the neoclassical structures of Russia, in order to demonstrate the power of their own government. In this regard, the purpose of this study is to examine the role of Russia on using European architecture and western architectural elements in Iran and identify the patterns of Russian neoclassical architecture and retrieve them in the administrative-service buildings of Iran. This is a comparative-qualitative research which uses library, documentary and field studies. Historical-interpretive research method has been used to collect historical theoretical bases and descriptive-analytical research method has been used in the field of architecture. The results of the research showed that Russia played a very important role
in the entry of western architectural elements into Iran during three stages of «understanding», «observation» and «implementation». Patterns were effective in all three areas of the plan, the volume, and the façade of buildings. Emergence of objective components was more significant than other two components. The most commonly used architectural parameters of this style in Iran›s administrative-service buildings include: the long hallway with numerous rooms around it, the gable roof, the balcony, semicircular and long narrow rectangular windows, and balustrades.