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

The recently-founded industry of cinema in Iran during Pahlavi era was one of the most important modern cultural manifestations. Cinema has also had optimum economic efficiency and this matter caused public film saloons to be established and developed in major cities of Iran, including Shiraz. Accordingly, in this paper records of the establishment and historical evolution of Shiraz cinemas, besides general particulars and methods of their activities during Pahlavi era have been studied through valuable documents.Findings of this research show that during 1929-69, at least thirteen independent cinemas were established in Shiraz, and their main growth was in the last two decades. Pars, Tāj, Rex, Irān, Metro, Donyā, Shirāz Cinema-Theatre, Sa’di, Pāsārgād, Persepolis, Cāpri, Paramount and Āriānā were some of these cinemas. It should be noted that some of these names have changed due to different factors such as change in ownership, renovation, or reestablishment for several times.The majority of cinemas in the aforementioned era were constructed by two or more commercial partners. In some cases this subject has caused disagreement and discrepancy between the mangers and theaters owners; even some of them owned several cinemas at the same time. Trading of the cinema establishment license was also prevalent. By changing the ownership of theaters, the names of them were changed as well. The procedure of changing the name was also often true in case where cinemas were reconstructed. It seems that this procedure was a trick to achieve a business boom.Most of the cinemas in Shiraz were constructed along the Zand Boulevard. This new place was considered a home to most important commercial institutions as well. After a while, three cinemas were established in Qasr-e Dasht Street (located in the west region of Shiraz) which was the outcome of social and economic development of the city in that region. Almost all cinema owners were among businessmen and this shows the economic hegemony of cinema industry in the Pahlavi era. Nevertheless, establishing new cinemas and growth in the quality of cinema projectors and the interior space gradually provided the essential infrastructures to hold international film festivals in Shiraz. Shiraz Arts Festival was a turning point in this regard which gathered various audiences in cinemas.

Modernism spatially has a Western origin that has emerged in the Renaissance, with the aim of explaining human ability and purely rational domination of self and society. Islamic-Iranian city is a concept to introduce cities influenced by culture, religious teachings and Islamic values.Cities that have the color and smell of rich Iranian culture mixed with Islam in body, texture, social status as well as urbanization. The truth and spirit of the new age is modernism, and its realization is based on the establishment of modern foundations in human thought. Is. By adapting this discussion to the reality in Iran, we can say that the growth of modernism and modern urban planning in our country has been free of social, economic, intellectual and cultural contexts. The development of modernism and urban planning is manifested more in physical aspects than in the root and content factors. The method of the present study is descriptive-analytical Using library studies, the effects of modernism on Islamic-Iranian urbanism have been studied and the city of Tabriz has been considered as an example. Modernism on the urban development of Tabriz, the loss of the traditional face of the city of Tabriz, the rich Iranian-Islamic culture, the uneven and physical ugliness of the city of Tabriz, the increase of marginalization with the migration of villagers to the city.

Throughout history, the design of urban facades has been considered one of the inseparable components of architecture. Architecture and facades are intertwined elements, and addressing a part of these elements can represent architectural styles in specified time intervals. The historical importance of Tabriz has led many researchers to focus more on the historical aspect of the city and its history. However, by entering the modern world and structural changes in Tabriz, more research must be done, especially in architecture and the structure of the urban shell. Knowing how architecture evolves reveals existing gaps. Also, failure to recognize the effects of time changes in architectural works will cause further damage in future architecture. The purpose of paying attention to the facades of buildings in a specific period in this research is to know the design process and to get familiar with the developments created in the city and the landscape. However, with the increase in construction, many valuable buildings have been destroyed, and studying what has been in the past has become more complex. However, the use of existing archives, the preparation of images, and the analysis of the status quo analytically is a descriptive analysis of the methods used in this article. Finally, the developments of urban facades, along with the time and architectural characteristics of that period, are presented as relevant tables.

In Iran, discourse on cultural heritage politically started to burgeon during the 1930s by efforts of enlightened thinkers (roshanfekran) and Western Orientalists. By the rise of Reza Shah in 1925 and during the Pahlavi epoch (1925-1979), the Western archaeologists or architects were closely engaged in cultural heritage affairs, which effectively manipulated the concept of Iranian nationalism particularly through focusing on the pre-Islamic heritage. While, in a few publications the foreigners’ contribution and the activities of Western archeologists was studied under archaeological light, in this paper,for the first time, the fundamental role of Western Orientalists regarding conservation of architectural heritage will be scrutinised. Thorough applying interpretive-historical research method, and investigating the primary sources, this paper will survey about the role of Western men in built heritage affairs during the Pahlavi era, during the Twentieth Century Iran. To this end, the letters, books, speeches, and unpublished memoirs of either enlightened thinkers or influential members in charge of the National Heritage Society have been referred to, in this study, with careful consideration given to their conflicting viewpoint against the Qajar rulers. Some of these men were: Isa Sedigh (1945-1970s), Arthur Pope (1925-1970s), Andre Godard (1931-1960s) and Asghar Hekmat (1933-1955). Other primary sources benefiting this study include: government documents; legislative documents of the National Heritage Society (NHS); unpublished memos; diaries; archival materials; old newspapers and library sources. These materials have been collected from four major libraries and archives in Iran. These included the the Iranian Cultural Heritage Organization Document Centre in Tehran; the Library and Archive Centre of the University of Tehran; Malek National Library and Museum Institution in Tehran; National Library and Archives of the Islamic Republic of Iran in Tehran; and Organization of Libraries, Museums and Document Centre of Astan Quds Razavi in Mashhad.At the first stage of this research, the attitudes of the Qajar kings towards historical buildings and heritage will be reviewed. Moreover, the reasons behind the erection of the National Heritage Society and the involvement of Western Orientalists will be explained. At the second stage, the impacts of Western Orientalists on Pahlavi’s policy regarding restoration of historical buildings will be scrutinized. The focus of this paper is to elaborate the involvement of four key people namely: Ernst Herzfeld, André Godard, Arthur Upham Pope and Maxime Siroux. The paper will deal with of how these men were invited by the key members of National Heritage Society (Anjoman-e Asar-e Melli), and how they were involved in restoration projects. This paper will also examine their approach or activities regarding built heritage in Iran that simply slipped into neglect after the Islamic Revolution of 1979. Having studied the under-researched and unpublished materials that have been gathered from the extensive documentary and archival sources, this research aims to illuminate the various aspects of Western orientalist involvement in terms of conservation or destruction of cultural heritage in the Twentieth Century Iran.