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

Homi Bhabha emphasizes that hybridity is the result of a movement of the two discourses of colonizer and colonized towards each other in the third space. The result would be a totally new object (hybridity) which can change the discourse of power and cause a new movement in society. This study has been done to explore the third space and its influences on visual arts, and it is tried to define the mural of Nomkhubulwane as a product of a clash between the Christian colonizing discourse and the mythological colonized one of Zulu tribe in the third space. The main question is whether this mural is a hybrid product or merely a simple combination of native and foreign elements. Through this comparative study, the artistic expression of the mentioned mural has been considered based upon both the colonized and the colonizer’s visual as well as symbolic values. The comparison is based on descriptive and analytic methods with an emphasis on the rich mythological and traditional art of this tribe and those of Christianity. The required data have been gathered from library documents emphasizing the literature on mythology in South Africa’s universities. This research considering both the ideas and beliefs of the natives and colonizers as well as the social movement that took place after this mural (the struggles against HIV and for defending the native girls’ rights), proves that the mural not only is a combination of the native and foreign artistic elements, but also it presents Bhabha’s ideas on transitions in socio-political discourse.

During centuries, modern cities and societies were sustained upon technological infrastructures. Our cities depend on these networks in a way that we can’t imagine them without highways or railroad networks, airports, municipal water and sewer systems, telephone, electricity and most recently internet or communication networks. Today these infrastructural networks have a vital role just the same as sun, plants and fresh air for us. These infrastructures affected our cities and our relation with our environs more than any other achievements in the industrial era.
From late 20th century by entering post-industrial era in developed countries, by the emergence of ecological hazards which led to the rise of environmental concerns since 1970s, the crises and erosion in the engineered infrastructure networks since the first decades of 21st century, beside the disability of modern technological infrastructures to response to new multi-dimensional needs of post- industrial societies, coming into focus the necessity of redefinition in the current approaches to infrastructures. By revisiting the concept, features and crises in the field of urban infrastructures, this essay puts into question the expected aspects of post-industrial infrastructures. Also by historical- interpretation study on the notion of landscape this paper examines the capacity of landscaping approach in planning and managing infrastructures in the 21st century.
Finally, analyzing these two concepts showed that the solution to overcome the industrial infrastructures toward post-industrial one is to employ the more multi-dimensional and holistic approaches. Approaches that allow the multi-faceted integration between infrastructure and ecological, social and economical aspects of cities and point the end to the more than a century of civil engineering authority that shaped rigid and mono-dimensional infrastructures in the modern era. It noted also that the discipline of landscape which simultaneously with the great changes in modern philosophy, passed conceptual revolution, due to its inherent traits of being mediance and trajection that is not reduced to the objectivity and mono-dimensionality, allows us to overcome the object-oriented approaches in planning urban infrastructures. Thus the result of this short recall of two notions of infrastructure and landscape shows that the utilization of landscaping approach in planning the infrastructures is one of the solutions allows us to pass the inflexibility and solidity of modern engineered infrastructures.

Disasters are identified as main causes of change in place, which seriously disrupt the person-place emotional relationship. The disruption, as the most important consequence of the disasters, happens through corporeal alterations in the place, and physical and psychological damages in people, leading to anxiety and feeling of loss in residents. Recent settlement reconstruction processes tend to not only rebuild the survivors’ neighborhood physically, but also to reduce the psychological damages to the residents- as the main achievement of a rehabilitation process. Due to the lack of theoretical frameworks of environmental sciences, especially environmental psychology and place attachment discussions, in disasters and the disasters’ effects on person-place relationship in one hand, and post-disaster reconstruction role in recreating place attachment and reducing the disruptions on the other hand, the research seeks to develop a theory based on understanding and assessment of the factors causing disruption in place attachment after disasters. The sample community for performing the research was chosen among the residents of Bam who experienced the massive damages of the 2003 earthquake and the resulting changes in place. Due to the qualitative nature of the research, it is based on the ethnographic research methods. The qualitative data collection is conducted through field observations and in-depth, face-to face interviews applying a field study approach. Data analysis and the composition of the theory and the relevant explanations are done within the framework of "grounded theory", comprised of the process of open coding, axial coding, and selective coding (Strauss-Corbin, 1998). In this study, in-depth interviews are conducted among 40 old residents of Emamzade Zeid and Emamzade Qasr-e-Hamid, with the age range of 25 to 65 years, living in the neighborhood prior to the earthquake, who could remember pre-while-post earthquake events. These people have reconstructed their homes during 10 years.Research findings reveal that the most important factors causing post-earthquake disruption in placeattachment, from the residents’ viewpoint, were the loss of elements related to the city-identity, such as the Arg(citadel) and the Nakhlestans(palm groves). The residents also pointed out the loss of the sense of home, leading to reduction of social kinship and neighborhood relationships, as well as neighborhood identity degradation due to the physical destruction of the place. Finally, Bam residents interpret the interferences in place attachment as “Neighborhood Past Nostalgia”; causing a loss of interest in the neighborhood. Contrary to the common belief in the importance of physical reconstruction to the survivors, other factors such as the reconstruction of identity-related elements of the city were emphasized along with necessary infrastructures for promotion of living conditions, neighborhood social relationships and neighborhood identity revival. These factors seem to have a positive impact in recreating the residents’ emotional bond with the reconstructed neighborhoods, which is a matter to be considered in post-disaster reconstruction planning, especially at neighborhood level.

Natural disasters، such as the 2003 Bam earthquake، affect person-place bonds، particularly peoples’ place attachment. Many of post-earthquake reconstruction projects have been carried out based on a mainly physical approach to provide shelters with little consideration for the emotional bonds between persons-places. Recent sociological studies in Bam indicate neither residents'' satisfaction with their new built environment has been achieved، nor the mental issues of grief and disruption in attachment to their settlement in Bam post-earthquake reconstruction have come to the end. It seems that، the development of an appropriate urban design theoretical frameworks is needed to identify the necessary concepts for re-establishing «place attachment» in the reconstruction process. These concepts help fostering the survivors'' affection with their environment and eventually enhance the environmental quality. Four years past the completion of reconstruction process، Bam reconstruction experience has provided an opportunity to identify the effective components involved in re-establishing «neighborhood attachment» based on understanding and interpretation of the residents’ views. This paper intends to propose a theory to explain the residents’ understandings and evaluations of the post-earthquake reconstruction efforts. The research methodology is a qualitative one and the «grounded theory» method، based on Strauss & Corbin (1998)، is adopted to build a theory. In other words، the theory is not built through hypothesis testing، but is a data-driven entity based on field study. The data collection is conducted through semi-structured interviews and the Bam’s document reviews; where 45 people aged 25-65 years old living in Emamzade Zeyd and Ghasre Hamid neighborhoods were interviewed in depth. These participants were selected via snowball sampling method to have theoretical saturation. The findings show that in post-earthquake reconstructions: «place attachment» re-establishment at neighborhood scale is in line with and a subsequent to «home» attachment and «city» attachment. Moreover، re-establishing neighborhood attachment، as returning to the past، is explained through a theory comprising three sets of categories، i. e. «conditional categories،”» interactive categories،” and «consequential categories». This phenomenon is derived from the «neighborhood bond to Arg and Nakhlestan»، «home as survival point»، «life facilitation،» and «social bonds.» The residents'' reactions include the sense of «life continuity»، «memory-making” and» self-expression” in the neighborhoods. The consequence of this affective bond has a dual function. On one hand، it has led to «nostalgia» and «hope for life» and on the other hand، «non-acceptance» of the reconstructed home forms and relationship restriction with non-local residents are considered as the negative consequences. This built theory confirms the importance of «place identity» and «place dependence» as the «place attachment” components، although socio-demographic indicators played little role in the theory due to the qualitative character of the research. This study emphasizes the importance of re-establishing» place attachment «in reconstruction policy-making and planning. That is to say، high-quality reconstruction of the homes، settlements، and the main city elements inspired by the past should be the first priority and then،» life facilitating «and “reinforcing social networks» is recommended to be considered in future planning. Furthermore، “revitalizing past memories” and «hope to the future» can also result in a deeper bond among the residents in their neighborhoods.

Disasters have a major role in making people homeless so that some experts regard them as a catalyst for "homelessness" or loss of sense of place. In addition to huge destruction in disasters, uniform constructions and similar places in the reconstruction process speed up homelessness. Furthermore, major reconstruction activities follow a physical approach to housing construction and do not consider the re-establishment of sense of home and place and the revival of socio cultural spirit of local community is neglected. Despite the frequent occurrence of natural disasters in Iran and increasing emphasis on social and mental rehabilitation in reconstruction process, there is no theoretical framework for the creation of "sense of place", particularly in post-disaster reconstructions. This dissertation follows two main first, to formulate understanding the meaning of living in Bam post-earthquake housing reconstructions from the perspective of its survivors; second, to explain the theoretical frameworks of "creation of sense of place", accordingly. The research methodology is qualitative and the "grounded theory" method, based on Strauss & Corbin (1998), is adopted to build theory. In other words, the theory is not built through hypothesis testing, but is a data-driven entity based on field study. The data collection was conducted through structured interview with 21 survivors of Narges Residential Complex selected by Snow-ball Method to obtain theoretical saturation in sampling. Data analysis, theory explanation, and paradigm model development were carried out through grounded-theory coding process. The research findings show that understanding sense of place from the viewpoint of the survivors of reconstructed settlements is interpreted as "re-experience of sense of living" depicted in the research grounded model in terms of conditional, interactive, and consequential categories. The sense depends on "self-expression", "home as a living center", and "social life". Survivor's interactions to this phenomenon are represented as "belonging to settlement" and "being as a member of extended family". These interactions finally result in "hopeful life to future" among survivors. The research results can be used as the theoretical basis for "creation of sense of place in developing urban design principles (substantive and procedural dimensions) in the post disaster reconstructions to provide the possibility of reconstruction of better places for survivors.

Painting and art criticism are based on two different semiotic systems. The expression in painting is basically visual and in criticism is verbal. On the other hand، all expression is linguistic، that is expression and comprehension in all semiotic systems is basically linguistic. The art criticism، then، is situated between two poles: visual signs and verbal signs. It has as function to reorganise and to reconcile these two types of signs into a one and coherent schema. However، because of several reasons، which will be discused in this paper، this reconciliation is faced by challenges. Firstly، images and words are ireductible to each other and، therfore، the description of visual compositions by verbal signs، as the first constituent element of any art criticism، appeares as a challeng in itself. Thus، the art criticism is placed in a “critical” situation and is deeply concerned with the semiotic “crisis” of the conflict between words and images. For exemple، when the abstract painting uses the simplest plastic elements، the critic’s text must uses much more verbal signs to describe it. Secondly، the post-structuralists have shown that the language per se is full of ambiguity and opacity and، in spite of appearance، lacks of transparency and lucidity. These chracters permeate to the art criticism as a verbal text. Thus، it is hypothesized that art criticism must be constructed of four fundamental elemets (painting itself، spectator، art criticism’s text and the reader of this text) in order to reduce these effects. We will show that the interaction and the interconnection of these elements give to the art criticism a genuine character، different at the same time from visual compositions and pure verbal textes. Nevertheless، through this “betweenness” these two types of signs come closer to each other. The criticism is always a situated text. In other words، it is in a determined context that a text is written and، therefore، all historical، cultural، social features of this context will appeare in the texte of criticism. For post-structuralists، these features are fundamentally linguistic construction. Visual elements also have the same character: they are dependent to the linguistic context in which they are composed. In the art criticism، these two characters are combined and will build a new construction، which is verbally and visually dependent to its linguistic context. It is، then، the language، which determines the comprehension of the painting and its critic. Because of the inherent ambiguities of language، neither painting perception nor its critic comprehension is perfect. In fact، the interaction of verbal and visual signs make the art criticism a ground in which the painting itself، the text of criticism، the spectator and the reader participate in a paly. The laws and rules of this paly are stablished by the frame of language. The point is that different languages have different rules and the richness of art criticism is the result of these differences.

For centuries، artworks belonged to determinate spheres of art media like painting or sculpture which have had their own boundaries and laws. But after 1960s، the boundaries between media and also in general between art and non-art have been disappeared. By the increasing possibility of an ordinary object to be an art object، the meaning of media started to change. In 60s، the origin of artwork was not in its object; but the origin was searched in everyone’s experience. The object، just by being in field of perception، could make possible aesthetic perception. When every day perception and the experience find the main role in art of post-modernism، the theory of French phenomenologist Maurice Merleau-Ponty will give us possibilities to take an accurate look in these changes in art. In this article، his ideas of embodied perception and the correlation of sensations، and also the relation of them with new media are studied.

This article intends to study the issue of representation in Pop Art. Here we define representation as a process through which the audience identifies an external reality in the heart of the pictorial elements of a tableau which is exterior to the pictorial world or rather only familiar to his mind. For this purpose, we would examine “representation” from cave art to art of the middle 20th century i.e. when the representational elements in artistic work wane for different reasons. But representation regained its importance no sooner than the emergence of Pop Art in 60s and consequently representational pictorial elements has so far turned into one of the critical issues of postmodern events in art. This article would analyze the fundamental artistic and social reasons for such attention to representation in Pop Art while remaining focused on works of the distinguished artists of the movement, those like Jasper Johns, Robert Rauschenberg, Richard Hamilton and James Rosenquist.

Landscape in post-industrial areas has a specific grammar from other ones. And these structural differences are visible through grammar indexes. This article presents the concept of a landscape grammar and provides a review of this concept in post-industrial urban areas. This grammar can analyze the characteristics of a landscape by means of spatial syntax rules and using specific vocabulary for each landscape objects. On the other hand، using a generative system، helps recreate the landscape. The landscape grammar and the type of dialogue between human and landscape can be altered by changing the atmosphere of space with a growing change in economical policies of industrial age. Modern humans constantly experiences new ways of life in new urban fabrics. Changes in boundaries of the city caused by urban sprawl and encountering large scale areas which disrupt fluidity of urban activity، constitute the new paradigms of urban landscape as a new challenge as well. In fact، modern man continuously consumes the space، excretes it and faces it again. This process of encountering with abandoned human-built landscapes is a stimulus for a jump to new aesthetical landscape grammar in Brownfield areas. The rest of this paper seeks to extract and conclude some indicators for landscape grammar in post-industrial areas by using 3 examples of basic approaches of landscape theorist in 3 projects. Landscape in post-industrial urban areas is revivable and urban life is not only stopped in these areas but also lasts and grows just like a silkworm and these areas have a concept of metamorphosis. This concept includes physical aspects of an evolving organism and the term “post-industrial” needs to be modified through this kind of interpretation. Culture of industrialization life will remain until human exists on this planet. According to this reinterpretation these areas will gain specific characteristics of metamorphosis and some of its indicators include items below: - New aesthetical sense of a place - Analogical values of result landscape and articulating layers of information - Horizontal surfaces without strict function of space

The present article analyzes the contemporary post revolution wall painting art and the symbolic, social and cultural capital dominant on it that are indications of social and political changes, actions and field of power within the scope of painting and state field of power. The main hypothesis in the article is that the wall painting art is produced while being influenced by the field of power in every period and to test the mentioned hypothesis there are considered the post revolution wall paintings in the city of Tehran. The way the present artists act, the position and place of this artistic field in social, political and art situations, the type of the capital and their habitus, all are the major questions considered within this paper. The research method is also based on Pierre Bourdieu sociological views and tries to analyze the genesis of wall painting field in social space after the revolution. The conclusion shows that the style of the specified period wall paintings is the result of a meaningful differentiation from the pre revolution paintings and is based on the cultural capital which is itself resulted from the current political governance. The dependence of wall painting to the field of power, in the height of revolution andsimultaneous with its victory, connected this art to the main focus of power, the Mass and revolutionary forces, and was supported and confirmed by the revolution after its consolation and establishment of field of power.

Till now many researches have been done in order to find and clarify the different kinds of relations between two well known arts: Music and Architecture، during the years of their existence. The majority of these researches have only focused on the comparison of superficial and structural aspects and no deep research has been done to specify conceptual and spiritual relations between these two. Here it is intended to explain the conceptual relations between Music & Architecture space by exploring the relation of concept of space in Music & Architecture within two periods of pre-modern (14-18 centuries) & post-modern (18-21 centuries) in western countries. Because of the main revolutions that occurred in Renaissance، which resulted in changing viewpoints of artists، their needs and insights towards world & life، this era has been chosen for the beginning time of the research & furthermore the 18th century، because of its serious changes in work patterns، life styles and also its industrial & economical revolutions، has been chosen as the dividing time، from the Renaissance till now into two parts of pre-modern and post-modern. The purpose of this investigation was to find the answer to the following questions: How was the relation between music and architecture space in these two periods? What kinds of changes have happened in the structure of this relation and what are some of the reasons? To find the answer، this study has been done in three parts: First section: Survey on concept of “Architecture space” within pre-modern and Post-modern era. Second section: Survey on concept of “Music space” within pre-modern and Post-modern era. Third section: Survey on relation between Music and Architecture space from pre-modern till Post-modern. At the first part، with the facts that are founded & mentioned in the chart 1، it is shown that in the history of architecture in different eras like Renaissance، Baroque، Rococo، Classic & Romantic، as the pre-modern periods، there has been a special concept behind each architectural space design. At the modern & post modern also there are found some specific concepts in the relation with the designed spaces also. In the second part there is shown that in music it has been the same and in different eras like Renaissance، Baroque، etc. there has been founded specific concepts behind the spaces that was created through the musicians and this pattern had continued in modern & post modern eras as well. Finally it is interestingly discovered that at each of the eras mentioned (like Renaissance، Baroque، etc.) there has been the unique conceptual meaning behind both architecture & music spaces at the same time، and they has expressed the same meaning. For example at the Renaissance، in both music & architecture spaces it has been mainly focused on «human and its perception of space»، at baroque on «the movements & motion of space»، at Rococo on «the use of trapping in space،» at Classic on «the use of old patterns in the creation of space» and finally at Romantic «the emotions & artists revelations» had been the main point. But After 18th century in modern era، this relation changed so that there was no unique conceptual relation between the architect''s & musician''s works and multiple conceptual spaces started to appear and it continued into the post modern till now. Some of the reasons for this change could be the industrial & economical revolutions، technology progresses، changes in the meaning and usage of space، etc. some of the results of these changes from unique conceptual relation to multiple conceptual relation is that less communication between the arts is seen، if at past one specific concept was expressed by both the music & architecture spaces at the same time and one helped the other to expresses its meaning، today is not so and the relation is so disturbed and obscurant that none of them reminds you the other. And also they are less influenced by each other. So this article clarified the fact that: 1th،from pre-modern till present time، always conceptual relation between music and architecture space has been existed and these two arts in all periods expressed unique meaning. 2nd، Because of the revolutions that have happened within modern period، some serious changes have occurred in the structure of this conceptual relation. By further researches more details of these changes and also its impact on the relations of other arts could be figured out and its advantages & disadvantages could be investigated as well. Each of the eras which mentioned here could be studied in Eastern world (countries) and compared with what is done in this research as the Western world.

This study is concerned with encouraging people to use post system in Iran. In fact, it tries to find the design specifications of a post machine as an interacting system for improving post system. A machine that can provide facilities for posting parcels and selling envelops and stamps. In Iran, post system is an obsolete system and cannot satisfy the users completely. In order to explore the reasons, which led to dissatisfaction, a study was performed and 40 people were interviewed. The result of the study showed that there were some shortcomings in post system such as; weak services of post organization and consumers’ lack of knowledge about the post services. Also the most important reason for reluctance of using post service in Iran is concerned with the necessity of using the central post office. This is due to the lack of post boxes around the cities and size limitation of post boxes that makes it impossible to put a parcel. In order to make the post available to people in most places and persuade them to use post services, it was decided to develop a post machine. Obviously when the operator is replaced with a machine, the relations are changed and people face new problems. Therefore, there is a need for considering the relation between user and product. For this aim, Interaction Design approach was used to improve the quality of users’ interacts with the post machine. Interaction design is the creation of dialogue between a person and a product, service or system. This dialogue is usually found in the world of behavior. In particular, it is about creating user experiences that enhance and extend the way people work, communicate and interact. In order to identify problems in current system and survey ideal conditions for using a post machine and interaction between users and machine, Scenario Based Design was applied. Three kinds of scenarios were used; problem scenario for identifying problems, activity scenario for visualizing the ideal conditions and interaction scenario for recognizing design interaction between users and machine. The result of three scenarios was used in next step, which is Quality Function Deployment (QFD). QFD is a systematic method for translating voice of costumer to design specifications. It starts with the identification of the customers and of their own views of their requirements and desired product attributes. In order to obtain voice of customer, forty people (23 women and 17 men) between 23 to 45 years old were chosen randomly among post users. The users were asked to fill a questionnaire about the post system. The result showed user’s needs and problems of current system. This information used in Relationship Matrix of QFD method. The result shows that the most important part of a post machine is the software that is used to interact between users and machine. The results could be use for designing a post machine.

Art critics have recognized some characteristics in contemporary sculptors that are basically postmodern. Characteristics such as pluralism have been to reflect infinite variation in nationalities and cultures, realism especially social realities, the molding of the human body as a way to approach reality, displaying sculpturs in natural & public environment and apart from Museums & art galleries to reach the audience, and effective experssion and perception of the sculpture. These characteristics have contributed a lot in exprssing and producing social, poletical & cultural, concepts,and etc. One such sculptor that used these characteristics to created his works is George Segal. How ever Segal was considered to be a founder of the Pop Art movement in the early sixties, but his individual approach quickly distinguished him from the friends and colleagues with whom he exhibited. Far removed from the wit and sophisticated detachment of their art, the subject Segal deals with is the human condition, its solitude and fragility, which he expresses with a strongly felt sympathy. For those who associate Segal's name solely with life-size white plaster figures, a characteristic that was the diversity of Segal's art from another his contemporary artists. In fact Segal is known for his tableaux of life-sized cast figures. In this process he used medical bandages or began pouring plaster into his casts, then using them as moulds to obtain more detailed figures, which he then usually painted a single bright hue. which technique that Segal altered to this in the mid-1970s helped him that established him self as a pioneer of post modernism movement in sculpture. Segal’s work technique possibly hides much detail in the human figure this ambiguity of the figures features, not to mention the white tone they are painted, indicate no specific race, or racial preferences for that matter. These figures could represent many racial and ethnic backgrounds. Segal’s sculptures, focused on wit and sophisticated attachment, in favor of displaying the human condition.They frozen in stereotypical poses and he installed them in a realistic placed in modern, everyday settings, situations & environment and gave them an "eerily feeling of isolation". His sculptures are simultaneously familiar in their form and subject and haunting in their ghostly stillness. These realistic scence made even more real by the addition of ready-made props evoking the urban decor, Segal's figures, which convey his keen sense of observation, serve as symbols of a humanity that is dominated by social and material contingencies. His works, which juxtapose individuals and their surroundings, emanate an eerie feeling of alienation. In addition to representing the banality of modern life, Segal has created sculptural portraits, depictions of intimate activities like bathing and dressing, as well as overtly political subjects. With this works Segal treats conscience as an inner voice. He takes the urban landscape for a universal symbol of despair. Ironically, he thus tends to put conscience beyond politics and beyond place. This paper investigates, these post modernism characteristics in his works to identify his role and contribution in Postmodernism Contemporary Sculpture.

Human intervention in nature explains the reliance of human on earth and itsevolution. Benefiting from earth by extracting from nature started since the existence of man on earth and this kind of natural extraction still continues. As a result so many natural landscapes have turned into mining, industrial landscapes and etc. In contrary to agricultural sites, the mining sites are not sustainable geographical and economical sites. They are used temporarily and eventually become useless sites like post – industrial sites. It seems that mining is the constant and sustainable feature of post mining landscapes. The question is how these post mining and post industrial sites turn into potential landscapes in urban planning and design? How can they be managed and benefited from? This paper tries to research significant opinions in planning, design and reuse of mining sites with a landscape design approach. Meanwhile, a Spanish landscape architect, Juan Manuel Palerm, who uses matrixes to design and plan post mining sites, is introduced. Palerm emphasizes on relations and not absolute landscapes. His focus is on multi dimentional interrelations: of landscape and human, of people and etc. he believes that this interrelation must be identified and nature is the best guide in this process. Therefore he has a holistic approach to mining and post mining sites. Palerm considers matrixes a tool for decoding the complexities of the whole system (the whole world or landscape). He also uses them as a methodological tool for reading and interpreting mining landscape in these landscapes. The relevance between the keywords provides the codes for reading guiding projects. Matrixes help in finding the history of a place and introducing its future by answering all the questions about the place. He mentions that his goals in designing mining projects such as the Tarantino project (located in Italy) is to create a sense of satisfaction for the visitors because they don’t want to see the mines abandoned. Therefore, he designs these sites to achieve beauty. He believes to aspects of the site should simultaneously be taken into consideration in designing: the natural status of the site and the artificial elements which are added later. Homogenous design of mining and post mining landscape based on the defined matrix can impede the disorders caused by indiscriminative mining and human interventions and consequently create ecological identity for the region.

This essay has attempted to apply the main concepts of Jacques Derrida’s deconstruction theory to the Persian painting “The Drawing out of Yusof from the Well”.A methodological frame comprises signification, reversing binary oppositions,aporia, parergon, narrative, intertextuality and decenterism. In a deconstructive analysis,binary oppositions like men and women, day and night, cold and warm colors are connected without superiority. Spectators face questions which have unlimited answers and entangle them in aporia. Considering a parergon will help the spectator come up with another reading or another meaning of a certain text.There is also no center. The center has lost its function. The artist has put the center, which is related to the title, in the corner. The work is not autonomous. It has a relationship with other texts like the story of Yusof in the Qura’n and ancient myths. The signs prevalent in the sketch can also be traced back to other texts. Thus, we can find a deconstructive logic behind this work. There is no final meaning and signification and the artist’s ideas in forming the painting follow Derrida’s concepts and theories.

Since the late 1960s, a pioneering design approach gradually emerged that is referred to now as the postmodern approach. Design, architecture and in general terms, post-modern art (similar to other cultural forms of post-modernism) have so many complexities that it is actually quite difficult to define a set criteria for recognition, classification and differentiation of post-modern from modern art.This paper, using semiotic theories as analytical tools, attempts to define various concepts and indicators which it then uses to study famous works designed by well-known designers and architects with a post-modern approach. The findings suggest that the signs in post-modern works have gone through major changes compared to their modern counterparts. The best example is the reemployment of iconic signs in post-modern designs. Post-modern works have enormous connotations and their process of semiosis and signification are endless. Moreover, the post-modern designer employs syntagmatic and paradigmatic approaches,allowing viewers to interact with the artwork. Finally, post-modern designs address sensual perceptions. In fact, the greatest function of postmoderndesigns in terms of communication is their ability to relate emotionally with viewers.