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سال شانزدهم شماره 77 (آبان 1398)

Cities are the places to promote creativity and development. Cultural and spatial characteristics, historical background and social conditions are among the important factors for the variation of complexes in different cities. Historic context of cities has always played a significant role in the identification of urban life. This part of the city is the manifestation of cultural, economic and social dimensions of people who have lived in historical periods and recorded their cultural identity. The old and ancient fabric of cities due to its historical background and the presence of historically valuable elements, proper communication position, the placement of the main market of the city and its economic heart, has a unique value and place in the spatial and functional structure of the city. The main objective of this study is to identify the effective components in promoting community, culture through the design of a cultural creative quarter. To this end, by relying on a qualitative strategy and library studies and through a logical reasoning strategy, the main criteria for the regeneration of a cultural creative quarter have been chosen and the graph of the components of culture_led regeneration and creativity has been drawn up. Eventually, according to the common aspects of two categories of culture_led regeneration and creative quarters, the design criteria in the historical contexts are specified and the analytical framework of the research is presented. The results show that paying attention to the two categories of culture and creativity at the top of the design solutions leads to the cultural promotion of historical contexts as a creative quarter.

 Qaleh Iraj is one of the Sasanian archaeological sites in Tehran plain. The site is enclosed by arectangular defensive wall (rampart), 1470×1300m in dimension; thus, the surface area of the site would be aound 190ha. So far, field investigations have yielded no extensive architectural remains in this vast area enclosed by the wall.For this reason, the main objective of the present paperwould be to locate the architectural structures related to the living spaces of the inhabitants. In addition, the second query to answer would be the spatial organization of the architectural structures recovered within the Qaleh Iraj rampart.To answer the principal question, it seems, due to the lack of architectural remains in the vast are enclosed by the wall and regarding the fact that such remains are abundant within the defensive wall itself, the inhabitants were probably living within the structures (numerous rooms) built inside the huge defensive wall itself and not in the whole site. To answer the second question about the spatial organization, it seems, according to the field studies, the architectural spaces were systematically builtwithin the entire defensive wall of Qaleh Iraj, including stunning 828 similar rooms, one all-embracing corridor, 148 watch-towers, and some exterior arches.

This research was conducted in order to search for the living spaces of the inhabitants of Qaleh Iraj. Due to the fact that they were absent in the whole 190ha area enclosed by the wall, the huge defensive wall was chosen for archaeological excavations. After the discovery of abundant architectural remains within the defensive wall itself, these remains were examined thoroughly. Finally, some hypotheses were offered for explaining the spatial organization of the architectural structures.

In this research, descriptive-analytical method was used to answer the questions of the study. In the first step, the architectural remains that discovered from the field investigationsweredescribed and then, by putting the jigsaw puzzle pieces together as a whole, archaeological examinationsweredonein order to develop hypotheses on thespatial organization of the defensive wall elements.

The presence ofarchitectural remains within the defensive wall or rampart of Qaleh Iraj was unknown previously. Field excavations indicated that the defensive wall itself contained numerous rooms and a corridor and these were built for the sake of living of the inhabitants. As a result of the mentioned archaeological discoveries in Qaleh Iraj, it is now clear that the architectural structures such as rooms were built all over the defensive wall, executed in a similar fashion.The remains within the defensive wall include rooms, a corridor, watch-towers, and exterior arches. In addition to what mentioned, it seems the architectural system was changed in the later phases possibly due to security reasons.

culture, customs and religious beliefs are three factors that have had a great influence on the formation of ancient civilizations, including Iran and China. The Role of different religions in these civilizations has leaded to the formation of different concepts over time. The application of these concepts in the symbols and the formation of the Spatial spaces of gardening of these two civilizations can be investigated. The main purpose of this paper is to identify the codes used in the Spatial structure of Iranian gardens (Islamic period) and Chinese gardens (Taoist and Buddhist periods) and how is related to the religious beliefs of these two civilizations. In this article, first investigate the codes, its types and the way of the emergence and display of symbolic elements in Persian and Chinese garden, and Final, considering the association between the codes used with the religious beliefs of civilization and its creators, a comparative study of codes has been done in Iranian and Chinese gardens. The Present research is a kind of qualitative research which descriptive-analytical and historical interpretive methods have been used in collecting the data and in analyzing the data the logical reasoning method is used. This paper deals with a layered approach and focuses on the effects of codes derived from religious beliefs on comparative Study of landscapes in Iranian and Chinese gardening. The findings of this research indicate that with differences approach to nature, historical roots, social environments, cultural backgrounds, climatic factors and religious effects in the general and specific codes, the Iranian and Chinese gardens had been developing since the beginning of their formation in different ways. However, despite the difference in the religious beliefs of the two species of examined gardens, can observe the beliefs of people in the physical and spatial structure of both gardens.

The imitation or inspiration from the ancient artworks has a long history in the making of new and innovative works. Similarly, the art of Iranian jewelry as one of Iran’s richest arts is no exception. In the present research pomogrenate motif has been chosen, due to the importance of pomegranate motifs in Iranian culture, the repetition of this motif in the context of ancient artifacts of different periods, the repetition and rejoinder of this motif in recent decades in contemporary body of numerous kinds of art.

The aim of this article is to study the relationship between represented pomegranate forms in contemporary jewels and the historical texts about ancient jewelry inspired by pomegranate motif. The present paper seeks to answer the question of how the connection of contemporary jewelry with its ancient text is explained; and, in the process of adapting these works, what changes are made in the process of adopting these works as ancient jewelry inspired from the motif, pomegranate.Reserarch hypothesis: This research is based on a descriptive and adaptive approach, which has been carried out with the help of the method of Trans textuality and the Hyper textuality approach.

Contemporary artists has proceeded by preserving the form of pomegranate, disrupting symmetry, using negative and positive spaces, combining various materials with jewelry to represent the shape of pomegranate in contemporary jewelry. The relationship between previous and future texts in jewelry in different spreads of incorporation, assertion and derivation has taken place in two categories of change and imitation.

 Iranian contemporary architecture has consistently been subject to the criticism and analysis of thinkers and architects alike due to its numerous problems. One of these problems, unanimously expressed by influential figures, is the lack of identity. Dealing with the concept of “self” cannot sufficiently resolve current issues. “I” alone, may not act on its own, and requires the presence of “the other” in order to add meaning to action. Neglecting the concept of “the other” in the contemporary architecture has brought about a state of disintegration whereby the architecture seems to have lost image of itself as a manifold issue.Aim and Research

The present study seeks to examine the concept of “the other” in architecture and attempts to respond to the question “In architects’ and theorizers’ opinions, what “the others” are imagined and envisaged by Iranian contemporary architecture and via interaction with what forces are the images shaped?”. The nature of the current study is qualitative, and, in terms of research purpose, it is interpretive. The methodology includes open coding and axial coding, so as to address the way we deal with “the other” and to generate new insight.

The findings demonstrate that the views of the majority of Iranian architects and theorizers about “the other” can be classified into six categories “namely past ideas”, “people”, “market”, “government”, “the West”, “context”.

 Demographic and climate changes are the main challenges in the present century. Since the 1970’s, the sustainable development and complete inclusive design has been raised as an answer to these challenges. However, the inefficiency of the architectural spaces is still a controversial issue. Although the vernacular architecture has been responsive to the public needs, at the present era, this architecture has been neglected due to not keeping up with the developments of time. Research hypothesis and questions: It seems that by analyzing the universal design and sustainable development key criteria as well as the vernacular architecture resuscitation, we can develop the effective patterns of architecture that can contribute to the universality of spaces and their sustainability. Now, the critical question is arisen that according to the needs of vernacular architecture, which one of the criteria of the inclusive design has the ability to be applied in the sustainable vernacular architecture.

This is an attempt to identify the convergence or divergence level of the vernacular architecture components and universal design and tries to develop an interactive pattern that is in accordance with the universal design criteria and current ecological needs can be applied in the sustainable vernacular architecture. The research methodology of this paper is a descriptive-analytical and is based on the content analysis technique using qualitative-quantitative mixed approach. That is to say, at first, the architectural interaction pattern in compliance with the criteria of vernacular architecture, complete inclusive design, and sustainable development were developed qualitatively and then the relationships of the key criteria in this pattern and the share of each in the interactive system was determined. In this study, the Safavid fence in the district 12 of Tehran was selected as of the research and simultaneously, the qualitative and quantitative data were gathered through a questionnaire. The interactive model we developed based on the qualitative data included six factors as resilience, contextualize, universal usage, comfort, law, and management. Analysis of the quantitative data showed that resilience had the biggest share in the interactive system.