جستجوی مقالات مرتبط با کلیدواژه « مدرنیته » در نشریات گروه « هنر و معماری »

Problem statement: 

Education and educational spaces have been one of the basic pillars of the formation, development, and transfer of cultural components in every period. The school as a space has undergone fundamental changes during different periods and under the influence of various factors. However, with this progress and technology, cultural values and concepts rooted in architecture are faint in contemporaneous Iranian architecture.

This research examines the modernity in the architecture of Iranian and Japanese schools; it examines the architectural developments and related cultural content in Iran and Japan during different periods. The reason for choosing these two countries was their rich background in traditional architecture.

the research is qualitative and comparative (a lens comparative study). It used the library research method to collect data by referring to previous books and studies in different periods. Finally, it described and analyzed the concepts and principles of space created in the architecture of these schools.

The reviews show discontinuity in the cultural sequence at the beginning of modernity in the countries, which has caused the deprivation of native culture among newly arrived cultures. Japan, after a period, has re-examined various factors and tried to use the native culture in the new era proportionately to the culture of the society; this path has led to the formation of its living culture. However, this process in Iran has not taken the right path and has caused a failure to transfer the rich culture to the new era. Finally, it is necessary to examine the chief characteristics of each period and transfer cultural characteristics in a new form to maintain the cultural sequence.

Multiplicative and deep narratives in the process of modernization in Iranian architecture lead to understanding the formation of these changes in more realistic ways. Because most of the traditionalist narratives that want to return to the origins of Iranian architecture, have focused their criticism on the imported and Westernized narrative of architecture in the Naser al-Din Shah’s period, and according to this simplification, they also put a simplistic view against it. This paper is important in several aspects: first, through a critical look at existing narratives, it aims to present a new conceptual model in the formation of modernization in Iranian architecture. Second, by investigating the effective components of this process, it seeks to attain an explanation of how they affect it. According to the preliminary findings as a hypothesis of the research, the vast and fundamental changes that took place in the architecture of Azerbaijan in the early Qajar period (19th century) can be considered in line with the process of the formation of modernity in the architecture of Iran. The key question of this article about understanding whether it is possible to consider the formation of modern concepts in Iranian architecture, according to the need and during a conscious process, belonging to the early Qajar in Azerbaijan? The paper was carried out by a historical-interpretive research method and a process approach to collect historical and theoretical bases. To identify and investigate the influencing factors on the process of modernization in Azerbaijan’s architecture, Iranian and European first-hand sources such as travelogues and diaries were examined. By analyzing the data, maps, and visual information (as second-hand sources), which have a complementary aspect to the work, an attempt has been made to achieve a relatively comprehensive understanding of this process. A conceptual model of the process of modernization in Azerbaijan’s architecture is available by knowing the affective factors in the formation of architectural and urbanization characteristics in modern buildings. As a result, the evidence shows that the changes that occurred in the early Qajar architecture of Azerbaijan are an alternative narration parallel to the classical ideas in Iranian contemporary architecture. This process was formed not in Tehran (in the late 19th century), but in Azerbaijan influenced by various factors. The process started with the recognition of modern changes in European architecture. The next stage started with the formation of the necessity of these changes in Iran. Finally, these changes have been implemented in the architecture and town planning principles. The process of modernization in the architecture of Azerbaijan is influenced by contextual factors (Iran-Russian war, Azerbaijan’s geopolitical position), and affective persons (Abbas Mirza, Fath-Ali shah, European consultants, and Iranian intellectuals). Also, the consequences of this process have been introduced in two general parts: corrections of the defects of past buildings and the creation of buildings with new required uses. The modernization formed in the architecture of Azerbaijan could have been transferred to other parts of Iran, during the reigns of the subsequent Qajar kings; which require more and more detailed research.

The present study examines the relationship between the architecture of contemporary mosques and the historical traditions of mosque architecture and tries to formulate a special classification for the types of this relationship. At the beginning of this paper, some weaknesses of the existing categorization models for the general approaches of the architectural design of contemporary mosques are explained. Since in the existing classifications, the whole mosque is viewed as a single entity, the resultant classifications become ambiguous in many cases. For example, when a particular mosque is introduced as an example of the modern approach, it is possible that in the same mosque there are certain physical elements with a completely traditionalist approach, and vice versa, in mosques that are introduced as examples of traditionalist mosques, it is possible that certain elements and components of the mosque are designed in a modern way. Due to the generality and vagueness of the mentioned categories, it becomes difficult to explain issues such as the impact of the desired approach on qualities such as "recognizability" and "newness" of the mosque design from the audience's point of view. Another problem is that these categories generally do not have the ability to explain the homogeneity or heterogeneity of style in the design of the mosques in question, and usually when a term is used to describe a mosque, it is not yet clear whether the design of the mosque in question is original or eclectic. In this study, after an analytical review of the relevant scientific literature, four approaches to the historical traditions of mosque architecture are identified. Based on his expertise and professional views and the specific conditions of the project, an architect approaching the design problem of a contemporary mosque and in the face of the design of any of the main physical elements of the mosque can follow any of the traditions of mosque design (Imitation approach); the architect can somehow reconcile any of the historical traditions of mosque design with contemporary architecture and offer new interpretations of them (conservative approach); he/she can challenge some architectural traditions of mosque design (challenging approach); or one can wholly avoid these traditions and break from them (abandonment approach). In the present study, two modes are considered for each of the two conservative and challenging approaches: One is the case where the relevant approach is followed more intensely and the other is the case where the desired approach is followed with less intensity. In the present paper, each of these approaches is assigned a specific digit from zero to five. According to the specific field of the present study, which is dedicated to the exterior view of the mosques, for every mosque three main elements are examined consisting of the dome, minaret and other exterior surfaces. By assigning a digit to each of these three elements of the mosque according to its specific approach, a three-digit code is produced for each mosque. The code assigned to the examples of contemporary mosques can be a reliable indicator for explaining the physical characteristics of the mosque in question, explaining whether the mosque is recognizable or ambiguous from the point of view of the audience, whether the mosque design displays a homogeneous or eclectic style, and whether it is innovative or imitative. Next, the application of the proposed model to twelve examples of contemporary mosques, both in Iran and in the world, is described. In the present study, in describing the functions and properties of each of the afore-mentioned approaches, it is stated what issues and aspects are emphasized in each approach. Finally, it is stated that these four approaches are a set of possibilities that contemporary architects are equipped with in the face of the open problem of the contemporary mosque design and none of these approaches are inherently right or wrong, but it is important that they are used properly and appropriately. What is important is to face the design problem responsibly and self-consciously. If the architect decides to imitate some of the past traditions of mosque architecture, his decision must be based on awareness and wisdom, and if he decides to abandon some historical traditions, his decision must be a responsible and wise decision too.

After the entrance of modernity and its way of thinking to historical countries, some attempted to modernize all aspects of life and concepts. In these countries such as Iran, because modernity does not conjoin with cultural and intellectual movements, there is still a substantial contrast between modernists and traditionalists. Therefore, the will to achieve authenticity appears ubiquitously alongside thinkers in several fields like architecture. In the 21st century, authenticity is not a principal value for most experts but is often a concept to accentuate history and culture. But Iran, as a specific place which is not dominated by western modernity, had a dazzling past in written and tangible forms. Iranian distinguishable thought, which integrated Greek philosophy, Islamic theology and ancient Iranian wisdom, was developed by some masterful thinkers such as “Suhrawardi”. As these studies are deeply dependent on the philosophical view, it is critical to find an effective way of theorizing cultural specificities. In modern times, a French philosopher and Iranologist Henry Corbin brought Iranian thinkers and philosophers to the fore. This study investigates the notion of authenticity discussed by Corbin as well as his other concepts relevant to architecture. By employing the content analysis method, the relevant works of Corbin and some of his commentators have been analyzed and evaluated. Also, in order to develop a "conceptual framework of authenticity" the "descriptive-analytical" method is used. The central question of this article is how the notion of authenticity, especially in Iran, is explored and a consequent question is: what is the relation between architecture and Henry Corbin’s philosophy. In order to investigate and categorize the viewpoints related to the concept of authenticity, due to the connection between architecture, restoration and urban planning, sources related to authenticity in the aforementioned fields were included in the review. The review showed that almost all debates related to authenticity in Iran are direct translations of foreign works or indirect influence of their thoughts. This article seeks to find a suitable authenticity framework capable of reflecting and resonating with the history of Iranian thought and civilization, the body of this article has been divided into two parts: A) Issue of Authenticity in Corbin’s thought B) Art and Architecture in Carbon's thought. In the first part, by investigating the Corbin’s studies in Shahab Al-Din Suhrawardi and the School of Illumination and his reintroducing of eastern and Islamic philosophy, the article shows that it is “Alame Mesal” or “the world of ideas” which had the main role in Iranian creative thoughts. In the second part, the quotations that directly point at Art and Architecture have been discussed. In conclusion, this article shows that the disappearance of the Iranian worldview in the modern era has cleared the field for predominance of Occidental world. While the article does not investigate exact Corbin’s solutions to the authenticity problem, a brief discussion of Corbin’s works, as the basis of philosophical thinking, points us in the direction of a new, or perhaps old but forgotten, way of thinking about Iran and its architecture.

The history of popular architecture of Iran has rarely been a subject of academic inquiry. These are buildings that were built by ordinary people not social or mental elites. During transitional period of modernity (the up-down modernization early Pahlavi era) numerous small mosques emerged in the religious city of Qom. It was happened while Reza Shah’s plan for unveiling Iranian women as well as closing social religious rituals was running. In this study at first the contextual causes of such social resistance are analyzed. The first step of the study was searching for mosques founded during that era. It was done by field enquiry so 47 examples were documented and 8 of them that has limited changes comparing buildings, were selected for more studies. From spatial point of view two general patterns were found: mosques without courtyard (unlike traditional courtyard mosques) and mosques that were built on top of old water-storages (Aab- Anbar). These two phenomena along with other minor phenomenon of mezzanine in mosque were historically analyzed searching their roots. The search was lead to the patterns of Takiyeh in some cases and in the case of Aab-Anbars it was found that this pattern is specified to the city of Qom. The dictatorship of RezaKhan was lead to emotional effort to keep religious atmosphere within neighborhood so as not to be prevented by governmental forces. While every old community had a specified water-storage with its tank raised over ground, there was an opportunity to use it as a place for religious gatherings. Then turning towards the matter of form, structural and technological characteristics of theses mosques were taken into account. So some patterns were put as subject of deeper enquiry: exposed brick vaults with fine detailing on steel I-beams and iron-pipe columns as well as long vertical or lateral windows. Another found subject was fixed library shelves in these mosques. The mentioned columns were in some cases pipes of transferring oil. The creative thinking behind use of in-hand modern elements has many lessons for contemporary conflicts of localization while the identifiable character of the form of these mosques as specified religious space makes them valuable for study in current circumstances.

Architecture as one of the ways to create a work, while using art, is a combination of thought and technology. What sets an architectural work apart from other works is that it is more valuable than providing shelter; In other words, in addition to the functional aspect, it also expresses the characteristic of beauty and higher transcendent concepts. This type of architecture, as a valuable heritage, has the ability to remain in history and the role of technology in the production of such heritage has always been one of the influential parameters. When an architectural design is formed as a special work of art, it is affected by the technology and it has become symbolic in this state. The purpose of this study is to investigate this secondary aspect of technology and its role in the production of heritage of contemporary architecture.

The research is Combined and uses a Grounded Theory. Through descriptive-analytical methods, by examining the heritage of contemporary architecture as well as the aspects of the effects of technology and its role, the factors affecting architecture have been analyzed

Examining the identity samples of contemporary architecture as a lasting heritage with different geographical distribution shows that jointly the characteristics of form, function and beauty in the areas of formal configuration, spatial organization and facade composition can be analyzed and compared.

The nature of the architecture of funds at the intersection of art, science, technique, depending on the time and the context has been changed and the creation of a lasting architectural heritage has depended on the level of technological advancement of its time.

The metropolis plays an important role in the contemporary society. It features prominently in the public imagination as the very site of modernity and capitalist economy that has been encoded to convey the preferred meanings. Thus, it can be understood as an amalgam of objects of cultural production. To understand the metropolis is–to some extent–to understand our present age. As a patchwork quilt of traces of human existence, the metropolis could not present itself beyond the limitations of any strictly positivistic outlook, and it requires semiotic and phenomenological models like reading and experiencing. Thus, it might be read as a text, with its forms deciphered and its meanings understood. This means that the metropolis itself does not exist, and can only be understood through its various manifestations.In the reading of a city, or indeed any cultural artifice, it is important to know that meaning is never univocal. A city–any city–is always open to a variety of interpretations, and meaning must always remain plural and contested. Because there is no single way of understanding the metropolis, everything depends on how one views the metropolis and who views it. The reader, the “lover” of cities, must therefore be open to a range of “readings”, which go well beyond straightforward, rational analyses to open up the “poetry” of the city.

Theoretical Framework

Mindscape and spatial images play an important role in the experiencing and understanding of the city, as they result from a combination of different factors such as literature, art, media, myth, and narrative. As a German cultural theorist, Siegfried Kracauer, puts it, where the hieroglyphics of any spatial image are deciphered, the basis for social reality presents itself. Any Marxist-inspired cultural theorist would argue that what we see on the surface is the product of deeper underlying forces, in order to understand which we need to interpret the surface level. The unconscious nature of surface-level expressions reveals the hidden logic behind these phenomena.Cinema is one of the most important factors involved in the reconstruction of spatial images and urban mindscape. Emphasis on the relationship between cinema and the city denotes emphasis on culture and how the city is represented thereby. Apart from anthropological fieldwork, nothing compares with watching movies made for a community’s domestic market when the community is to be known. Most broadly viewed, cinema represents both the real and the imaginary. Architecture and urban architecture make up the body of the city for the presence of both lives, and cinema is a novel platform for re-reading the relationship between the body and the soul of the modern city.

Quantitative and qualitative content analysis methods were used in this research to explain the hieroglyphs of the modern metropolis of Tehran in the representation of the mysterious language of the city. For a concrete study of the city through official narratives, its representation in the selected movies of 2016 was studied, and seventeen movies were selected after the sample size was specified using the purposive qualitative sampling method.

According to the findings, we can conclude that the language of the modern metropolis of Tehran is discontinuous and disintegrated under the effect of the modernity paradigm and capitalism. We can claim that it is not possible to experience the metropolis of Tehran through movies although it makes up the location in most Iranian movies. Movies made in Tehran have failed to introduce the physical space of the city in the sense intended by Balzac and even Zola. This makes it more important to analyze this absence. Tehran has created its own specific metropolitan type. Thus, a cold, unfriendly stereotype defines the characteristic of people living in a Tehran. Modernity has been manifested there in a negative sense, and the city has turned into a refuge for the darkest aspects of modernity.

Finally, it is important to know that the city must be read by those who seek to create, shape, and transform it. Their reading of the city crucially conditions their writing of the city text and its buildings, streets, street furniture, etc.Thus, the task of any theorist intending to analyze the metropolis is to act like a detective, interrogating the traces and revealing the secrets. The metropolis therefore lends itself to research as a textual object. It constitutes a series of spatial image hieroglyphics–which may be deciphered in order to provide access to deeper underlying questions about society.

Acknowledgment

This research has been extracted from the Ph.D. thesis of Nazila Rahidpour, entitled “Explanation the hieroglyphics of Tehran modern metropolis with emphasize on reading, experiencing and memory”, defended in the Department of Urban Planning at the Islamic Azad University of Qazvin, under the supervision of Dr. Seyyed Mohsen Habibi and advisory of Dr. Manouchehr Tabibian.

The contemporary history of Iran, especially Pahlavi II, is full of political and social developments resulting from the intellectual currents and activity of intellectuals. Enlightenment is a product of the modern world. Therefore, it is possible to put forward the standard of typology of intellectuals based on modernity. The most important service of an intellectual to society is through his intellectual products. Therefore, knowing the thought of an intellectual is one of the necessities. Essentialist enlightened thinkers against modernity, who philosophically negate the entirety of modernity and envision another future, and point out any attempt to patch modernity with Eastern religions or culture as futile, put forward a type of discussion. Examining and analyzing the discourse of essentialist intellectuals against modernity is the subject of this research. And in this regard, the essentialist concepts against the modernity of Pahlavi II are examined by examining the thoughts of Fardid and Nasr. In the upcoming research, according to the interaction of the essentialist type against modernity with the thought of the mentioned intellectuals, the research method is logical reasoning. The indicators of the species mentioned in the thought of Ahmed Fardid and Nasr are the West, technology and the interaction of modernity with the West.

Flaneurie is an innate component of readings on modern urban life which has come to the heart of critical discourses owing to the writings of Charles Baudelaire in the nineteenth century and the works of Walter Benjamin in the twentieth century. Since the 1990s, new perusals of the flaneur have made it yet again an appealing concept in academic studies which is modernized through blending with the recent subjects and is no longer confined to Europe. This dissertation begins its arguments by iterating Baudelaire's narration of the flaneur. After going over Benjamin's notes on flaneurie and a brief description of Iran's society and cinema concerning urbanism and modernity, the presentment of Benjamin's flaneur in Iranian works of cinema from 1990 to 2017 is specified. To do so, the evaluated films belong to pseudo-genres like “urban films”, “street films” and “social films. “This research assays the embodiment of Benjamin's flaneur as the characters of films and with a statistical view it can be said that although what is known as the “flaneur” by the Iranian film critics has similarities to that of Benjamin’s, they're fundamentally distinct; distinctions that based on the means of production, censorship, pre-revolution cinematic movements, and the Iranian modernity in a broad view. These differences make it necessary to construct a new definition of the flaneur to separate it from the ideal type of it, a definition which is upon the common qualities and motifs of said films. This definition of the cinematic flaneur is an attempt to demonstrate that Benjamin's vision of flaneurie is absent in the Iranian cinema except for some rare occasions and that the film critics and filmmakers, for years with an inaccurate terminology and an askew hermeneutics of this tremendous concept, have turned it into a conserve and dissimilar matter.

The street has always had a mental and conceptual life that makes it a readable object and full of signs. In this regard, the visible and public form in it, is the subject of flaneur who observes and perceives the street as a stage for showing modern aspects. Isfahan's Chaharbagh Street has also been associated with evidence related to the experience of "modernity" that makes the flow of the flaneur in it thought-provoking. A street with a cultural and social collection of the firsts that became a frame of seeing and being seen and was distinguished from other streets. Therefore, the purpose of the present study is to describe experiencing modernity in Chaharbagh Street in the form of a historical narrative. Accordingly, the two main narrations are described and explained with emphasis on the two axes of the street and the flaneur. The method of data collection has been literature review. The necessity to address this issue is highlighted by the following points: Firstly, the need for a historical view of Chaharbagh Street in the context of a modern object and a point of identity and heritage which is one of the first roots of modernity in this city, and then the transformation of the modern subject (flaneur) and the suspension in the first presence, sitting and looking at this street due to the changes of contemporary urbanization. The results show that the obvious experience of modernity was realized in the Pahlavi era with physical manifestations such as theater, cinema, cafe, shop, and passage and three types of the public, buyer and avant-garde flaneur. However, these changes and innovations did not create a pleasant feeling for everyone and the modern appearances of the city and its street as a traditional city were considered strange patches. After the Islamic Revolution, the experience of modernity was formed in the format of large and cheap commercial spaces, as well as a new type of cafes and cinemas, which led to the growth of buyer flaneur, especially women. Modernity led to the expansion of the female public sphere and allowed them to develop a new and seemingly independent identity, a woman who was often confined to the private sphere and whose entry into the public sphere without a male companion was considered a disgrace, at least found opportunities to stroll. In addition, the public flaneur had more opportunities than the avant-garde flaneur and has been present in Chaharbagh as a spectator to see and being seen to this day. They use this place for hanging out, doing optional activities, making friends, having fun, and spending time. Also, with the re-emergence of Chaharbagh as a pedestrian street in the last decade, it has been turned into a cultural pathway, and it led to the formation of the adventurous flaneur in a state of resistance which is not aligned with its dominant discourse. Young people and adolescents who, on the one hand, seek to be seen beyond their social reality and, on the other hand, take steps in Chaharbagh to react to the existing order and conquer the public space.

Interdisciplinary research creates a gap between the participating disciplines and focuses on areas of overlap between disciplines. In this research, the relationships are completely relative and the participant parties can proportionally benefit from the assumptions and the involved interdisciplinary. City and Cinema are two products of modernity that have similarities and a lot in common which provide the basis for interdisciplinary studies. Creating a flanuer character in the city is one of the characteristics of modernity; flanuer is a person who walks freely and discovers the city with no special purpose. In the world of movies and films, the cinemagoers can also be considered as a kind of flanuer; they are in another world while watching a movie; a world that has no definite beginning and end and its path is formed through the angles of the camera and the look of the director.This article seeks to explore the aesthetic and social situations of cinematic spaces based on the theories of Walters Benjamin.

This essay examines the most important elements on the formation of globalization, and cosmopolitan thought, and then examines its effects on Qatsi trilogy directed by Godfrey Reggio. The term of globalization is a significant concept in the field of interdisciplinary studies and has entered into other broad fields such as sociology, political, economic, moral and cultural orientations. Throughout modern history, intellectuals such as Immanuel Kant, tried to understand cosmopolitanism and world peace. Kant in his book “Perpetual Peace: A Philosophical Sketch” used these notions as a theoretical framework by reconsidering the issue of world peace, and puts before the rulers the principles that he believes will lead to the establishment of lasting and eternal peace in the world. Also, we have referred to the views of other theorists in this field. In this article, Godfrey Reggio's trilogy including Koyaanisqatsi: Life out of Balance (1982), Powaqqatsi: Life in Transformation (1988), and Naqoyqatsi: Life as War (2002) are analyzed based on this idea. The fundamental question addressed here is to what extent Qatsi trilogy has been influenced by globalization and cosmopolitanism ideology, and also how much these movies have used the basic concepts of this ideology. In Koyaanisqatsi, we refer to Anthony Giddens' view of modernity and the globalization of inseparable phenomena, one of which cannot be explained or understood without the other. According to Giddens, "modernity is inherently globalizing". He defines this as a spatial-temporal process when it can be identified in any important aspect of contemporary social life. Throughout the film, we see countless elements of modernity that, according to Giddens, lead us to globalization. In Naqoyqatsi we are confronted with an issue called war and terrorism, which is one of the hidden concepts of this documentary. Therefore, referring to Kant's democratic peace by which he pointed to the possibility of avoiding war, and raised the issue of tolerance, emphasizing the need for education in this field among societies to prevent war. So we come to the important issue of tolerance, and whether humanity, made up of governments and their citizens, can achieve peace through tolerance in a world where the fires of small and large wars are rising at every moment. The reason seems to be that without tolerance, there will be neither a global citizen nor a cosmopolitan. In Powaqqatsi, we have addressed the issue of the arduous work of labors in the third world for the advancement of modern societies. Then, based on John Rawls' ideal theory of the rationality of universal justice, we have tried to provide an appropriate answer to the question of injustices in the real world. This film calls for a global change for the benefit of humanity and the environment. Finally, according to the analysis and examination of the various dimensions of this idea, we conclude that this idea has influenced this trilogy from different angles due to its coverage of universal themes and broad semantic dimensions.

Decorations have always been an integral part of Iranian architecture, which in some historical periods has been considered insignificant and sometimes very extreme in its use. Architectural decorations in the Qajar period have changed a lot due to the connection of this period with the West and imitation and influence of Western art, and many architects travel to Europe and Western countries in this period. For this reason, the Qajar period is considered the beginning of modernity in Iran. Western art and architecture in this period is slowly penetrating into the Islamic architecture of the Qajar period and this influence is gradually increasing. The purpose of this study is to identify the ornaments and additional elements to the Islamic architecture of Iran. The research method in this research was analytical and descriptive and the data collection method was documentary and library. The results show that in this period, elements such as gable roof, columns at the entrance, intricate bedding, mirror work, etc. have been added to the Islamic architecture of the Qajar period. The period is yellow and orange. The decorations in this period have decreased compared to the previous periods, especially the Safavid period, and in most of the buildings of this period, all types of decorations can be seen together.

Traditional design is a term that is more common to refer to the drawing of traditional patterns and has not been much researched as a method of designing the products and tools in the traditional production system. Few studies and reflections on this subject themselves have problems arising from meta theoretical assumptions, contextual stimuli, and stereotypes. Given the importance of the subject of traditional design (in the field of understanding traditional crafts and arts, as well as its practical and educational aspects), it is necessary that extensive researches be devoted to the subject. But in the first step, understanding traditional design requires identifying superficial cognitions and assumptions (that have overshadowed research in this field) and making a cognitive rupture with them. Therefore, in this study, references, texts and unguided interviews about traditional design, were analyzed and categorized using content analysis method. Then, by reasoning method and based on causal relations, the extracted categories are classified into two levels that includes: 1. Meta theoretical factors and 2. Stereotypes. Then meta- theoretical factors are categorized in eight branches: 1. The conflict between tradition and modernity; 2. Biased and oriental studies; 3. Complications of the Industrial Revolution; 4. Intangible heritage and cultural identity protection policies; 5. Differentiation between domains in the academic space; 6. The dilemma of defining terms; 7. The dilemma of creatology; 8. Scientific gap in traditional design methodology. Then in the second level, three axial codes have been identified as the result of Meta theoretical factors. The core category in all these categories is the "negation of design in tradition”. Therefore, in the second phase of the research, the content validity of these categories and the core of them have been discussed and it has been answered with some reasons.

Modernity and Nihilism have an inseparable bond. Philosophy of Nietzsche is centered on criticism of formation of modernity, to the effect of criticizing the his tory of wisdom thinking. Nietzsche pursues criticizing Rationalism approach, which is the heritage of Socrates- Chris tianity in the wes tern culture. He introduces rationality with the excuse of being cold, ins tinct-free and militant life, as a disease. Nietzsche by means of s tudying the phenomenology of the outcomes of Rationalism in the culture of his contemporary society, points out that the lifes tyle created by philosophy and later on by Chris tianity which has spread over the pas t 2000 years in the European civilization, have caused a great and his toric disease in the culture and life of the humans, which is called “Nihilism”. Nietzsche by portraying new prospects in ethics like what has been said in the books of Thus Spoke Zarathus tra, Beyond Good and Evil, The Will to Power, preaches new values.Nietzsche’s approaches towards the disease of Europe and the Nihilism hidden in it, entered art through modernism as one of the paradigms of modernity to the extent that it had deep impacts on the formation and orientation of schools of thought, like Futurism, Dadaism and Expressionism. Despite being present at the heart of the modern art, Nihilism cannot be obviously seen in the initiating aspects of the modernis tic art in Iran. In 1934 in Iran, Tehran University the firs t ins titution for development of modernity was s tablished. With formation of the faculty of fine arts in 1941 at this university, the firs t s teps of teaching modernity in the art were officially taken. Eleven painters, as the firs t generation of Iranian painters graduated from this faculty between 1941 and 1945. And from amongs t them, Jalil Ziapour s tudied more than the res t about the modern art in the wes t. Through awareness and choosing from amongs t wes tern art frameworks, with an eye to the modernis tic schools, he tried to find a new framework of art in order to express the Iranian contents in his works. This paper is aimed at asking why the Nihilis tic aspects of modernism are not reflected in the modern works of art of the firs t generation of Iranian painters, with an emphasis placed over Ziapour’s works. According to this artis tic research ahead of us, with reference to the accredited sources, and explanation of modernity and the progressive artis tic movement of the 20th century like Dadaism and Nietzsche’s Nihilism, it has been tried to inves tigate the way the artis tic modernism entered Iran, and how it affected the modern painting in Iran. This paper tries to indicate that although Ziapour and other modern painters in the firs t generation of painters in Iran have been effected by modernity and its outcomes, they were not interes ted in reflecting the concepts of the wes tern art in their works. He ignored this issue that in the modern art, the form and the content are dependent on each other, and by means of separating these two, he tried to localize the modern art.

Subjectivism, a pervasive current in Western thought that largely stems from Descartes' philosophical teachings, began a new view of man. In this new approach, man became the orbital of truth and became the subject of originality, and the man was recognized by us as the foundation of all truths, and it was assumed that the human race, by possessing a power called reason, and by the blessing of using the right way of thinking can achieve a definite and objective knowledge of things. The possibility of this definite and general knowledge of the truths lies in the fact that the mechanism of epistemology is the same in the human race, and the creatures arrive at a single understanding of things by adopting the correct method of cognition. Thus, although Descartes begins his analysis with “me” as an individual thinker, he eventually arrives at a general inference about man, and his approach to the human species and the human being becomes more and more obsessed with “us”. This situation is also strongly and weakly maintained in post-Cartesian systems of thought, such as Kant's thought and Hegel's idealism, until in the nineteenth century, with the emergence of individualist existentialist ideas such as Kirkgour, the altruistic view of man was challenged. Thus the human being with all his characteristics is paid attention to. The emergence of existentialist ideas along with Nietzsche's sharp critiques of the foundations of modern thought and the priority he gave to the mind of the creative artist, as well as the foundations of Freudian psychoanalysis, all set the conditions; which gradually turned the public conscience to the element of individuality and became the beginning to shake the foundations of modernity. Artists, who take the basis of creating a work of art from the same public conscience and sometimes even direct it, naturally stay out of the caravan and their taste, which is rightfully the irreplaceable arena of the emergence of individuality, more and more as a means of expressing themselves. They use and define themselves through their artistic creation. Simultaneously with the rapid growth of the industrialization of art in the contemporary period and the formation of a movement called the culture industry and the mechanical reproduction of art (both are interpretations of Adorno), and the recognition of the photographic medium as an art and the subsequent production of communication tools such as cell phones, which were often equipped with cameras, a phenomenon called selfie flourished. A phenomenon that on the one hand is an example of the prevalence of art among the public and on the other hand is a sign of the artist's greater desire to make himself his object. In this article, by examining the philosophical roots of the emerging selfie phenomenon, it is concluded that one of the reasons for the general popularity of this emerging media is the current individualism in the contemporary period resulting from Cartesian subjectivity. The present study is qualitative research that has collected data through the method of studying library documents.

A critical perspective to the social spatial influences of modernity has always pointed to the interruption between form & content in Iran. Architecture and urban scholars have referred to this phenomenon as a problem in dynamic changing process of spatial environment. The process of modern transformation of society, beginning from the late nineteenth century, has been continued with different quantities and qualities to the present time. Although social/gender relations and the spatial organization each experienced a break in their historical dynamic changing processes, but it seems and has been claimed that the two have lost their long-standing integration. Focusing on the process of change through a social cultural approach and based on Giddens’ theory of ‘social identity’ and Bourdieu's ‘distinction’, this study questions again the matter of social/gender and spatial disconnection and finds the answer within modern social/gender identity, as the main actor, which transforms the social/gender relations as well as the spatial forms, consciously or unconsciously.