جستجوی مقالات مرتبط با کلیدواژه "انتقادی" در نشریات گروه "هنر و معماری"

Although Abul Hasan Mostofi Qafari as the first painter in the succession of Qafari family painters is of significance importance, what makes him stand out even from other Iranian artists in the field of illustration is his dual life as both a historian and court secretary and an expert painter. This issue opens a new approach in relation to the explanation of his personality, thoughts and art. Therefore, it is intended to conduct an iconological study on his works in the range of modern qualitative-historical studies and by adopting an iconographic approach through the comparative study of the valuable historical text left by him (Golshan Murad) and other documentary texts. It is also intended to review and revise the existing comments and analyses related to his works while explaining the angles of his art and thoughts and analyzing the works left. In this way, it is specified that to what extent can the generalization of direct sensory perceptions based on personal undifferentiated experience be misleading and incorrect in the deviation of the hidden meaning in works of art.

Spatial justice is one of the main pillars of balanced development inside and outside the metropolis. Today anexample of spatial injustice can be seen around metropolises. This has intensified the spatial poverty traps and increased urban poverty in these places. The distribution ofspatial justice in the metropolis of Tehran is in a dynamicrelationship that is the result of a triple of power, opportunity and wealth. In such a way that by moving from thenorth of Tehran to the southern and western suburbs, thequality and quantity of welfare development indicatorsare gradually reduced and the level of poverty and spatialinjustice is increased. The existing views and discoursesabout these spaces have mostly taken action in the fieldof lack of services and their distribution, but in practice,they have not been able to explain the issue of urban poverty and spatial injustice in these spaces. The purpose ofthis study is a critical explanation of spatial injustice andurban poverty in the suburbs of Tehran, specifically Islamshahr and the Quds City. What factors produce andreproduce spatial injustice and urban poverty in the cityof Islamshahr and the city of Quds? Also, recognizing thedimensions shaping urban poverty and spatial injusticeand then identifying the structures in these spaces in orderto achieve the ultimate goal, which is to change and transform these spaces to empower their residents, is anothergoal of this article. In this regard, using the critical paradigm and the method of critical discourse analysis, datacollection has been done by two methods of interview anddocument analysis. Six categories of power, domination,justice, dependency, ideology, right to the city and citizenship were explained. The result of this explanation showsthat these six categories imply different dimensions of theconcept of power, justice and political economy. Also,the importance of the institutional political dimension ofpower along with other social, economic and physical dimensions has created a shadow of spatial injustice in thesecities. As a result, in order to change and achieve spatialjustice and get rid of the spatial poverty trap, only distributive justice is not the criterion for action, but moving in the proportional distribution of power in the institutionaldimension can be the way forward. It was concluded thatnot only the objective dimension is important, but also themental dimension is directly involved in this matter. Thehidden layer of power in the shadow of ideology has beenable to create spatial injustice, colonialism, domination,dependency and so on. And in line with this article, urbanplanners and managers can cover the hidden mechanismsof urban spatial injustice and spatial poverty traps withsystematic measures and with the aim of changing the direction of movement of dimensions. This article has alsobeen able to bring the critical view of the objectivist viewof spatial injustice closer to subjectivism and also to examine layers such as power, political economy, ideology,etc. in more depth.

Today’s chaotic and disturbed changes in the field of architecture in Iran have more dependent variables on cultural elements and sociology, rather than from aesthetics or necessity-based requirements of architectural engineering. In this paper, the relation between the form of the house and architecture with the elements of sociological and cultural is examined. One of the factors that affect the cultural-social aspects of the architecture is the "presentational" variable that is facing a lack of cultural considerations in our country. For the first time, the presentational variable entitled as "Dramatic Cultural" in 1959 AD was the use of the concept of the show as a metaphor of cultural demonstrations in societies. This issue in architecture, as part of material culture, defines architecture in relation to another, which reflects a wide range of meanings that are dependent on its supporting philosophy of thought. However, it covers that part of the architectural necessities that are not actually generated by the user themselves, but in response to the other, the user either requires or has to respond to the architecture. Therefore, understanding the relation of the presentational variable with architecture is part of the understanding of the relation of culture and architecture. Nowadays, the dramatic architecture in society as a public affair is a barrier to policy-making with a cultural challenge in the field of architecture. From the point of view of culturalism, presentational variable has associated with cultural while culture affected from time and field, can be derived from each of the cultural layers or areas; ideological culture (Culture of specialist forces, books and articles), custom culture (Common culture), elite culture (Imported culture) or foreign culture (Religion and Nationality). The purpose of this research is to identify the various components of the presentational variable in relation to culture and architecture. The research method in this study is an analytical-interpretative one. At first, the concepts of the Presentational variable are extracted from the texts and views of the relevant scholars (influenced by the views of the thinkers of the critical and uncritical pole), and then the components of the Presentational variable are presented in the form of a conceptual model, and finally, in a comparative view, it has been discussed and concluded. The results of the research show that the presentational variable is related to today’s cultural view, due to the "loyalty" affected by "the deepening growth of the media". On the one hand, as a reality based on power, wealth, media, and modern technologies, imposes a distinction on society. On the other hand, this issue contrasts with the traditions and customs of our society, such as simple life.  The evidence available in the architecture of today's Iranian society, shows that the presentational variable in architecture follows popular culture more than any other culture. Of course, proving this claim can be a question for future research. In conclusion, it is certain that architecture derived from customary culture was inadequate in terms of value, and in today's Iranian society, art and architecture should be supported by elite and ideal cultures.