فصلنامه هنرهای زیبا - معماری و شهرسازی
سال بیست و هشتم شماره 4 (پیاپی 96، زمستان 1402)

The rapid growth of urbanization and the increasing complexities of urban management have highlighted the need for innovative and efficient tools in the field of urban planning and design. Today's urban planning and design community, in the information era, requires novel technology-driven systems to make better decisions and achieve improved results in the shortest possible time. CityEngine, as a city-scale data-driven smart system, offers significant potential for improving the quality of urban planning and design. This applied research aims to introduce and comprehensively analyze CityEngine in the context of urban planning and design, with the Narmak neighborhood of Tehran  as a case study. Data were collected using various methods, including document review, field surveys, and spatial data analysis. The findings of the study show that CityEngine can be effectively applied in various aspects of urban planning and design, including: Dynamic 3D visualization of urban space (detailed and comprehensive urban plans, zoning and design control planning, 3D cadastral planning, environmental planning and design, strategic urban planning), real-time reporting of urban data for quantitative analysis, evaluation and management of the urban environment along with providing a communication platform for public participation, and integration with other relevant urban application software. The results of this research demonstrate that CityEngine, as a novel and efficient tool in the field of urban planning and design, can contribute to the creation of smart and sustainable cities. In CityEngine for urban planning and design modeling, the following four main steps are presented in the paper: (1) data preparation and processing (2) Classification of urban elements (3) Creating and defining rules (4) Generating a model and modifying it. It can be comprehensively  acknowledged that CityEngine facilitates: the integration of scattered urban data and the creation of a smart two- and three-dimensional database, the reduction and intelligent monitoring of urban violations through the modeling of urban information (zoning regulations, density, etc.), increased  speed and less waste of time in planning, designing and managing urban projects, enhanced citizen involvement in addressing urban issues through online sharing of plans, the ability to intelligently model all types of elements and objects in the city, including buildings, streets, vegetation, urban furniture, support for integrated management city through the creation of manageable dashboards and real-time control, access to  information on smart 3D urban elements with the ability to view all features in 3D and update information, improved  city maps with interactive 3D visualization to help understanding of the urban environment for managers and citizens, production of past, present and future models of cities to observe and compare urban changes, designing city redevelopment scenarios and examining the effects of each  in real-time, analyzing the three-dimensional view of the city to accurately assess the effects of urban visual permeability, and conducting city simulation based on real geographic information system (GIS) data to improve 3D city perception making it effective and useful.

Over the past sixty years, the mainstream of heritage conservation has been striving to reach a consensus and establish an optimal framework - the most effective approach for conservation - applicable in any scenario. It is alleged that this ultimate framework can be depicted in the form of conservation doctrines. In this article, we argue that the roots of this perspective on planning and  decision-making for heritage can be traced back to the rationality inspired by enlightenment and rational planning, which is termed "Rational conservation planning (RCP)". The RCP simplifies thedecision-making process and proposes universally applicable solutions. As a result, this approach has impeded the ability to effectively address the challenges faced.The primary aim of this article is to illuminate the stagnant state of the current theories of heritage conservation in terms of understanding theoretical challenges: Their perspective on heritage conservation is limited and narrow-minded. In order to address this fundamental issue, the authors pose the question: What is the competing paradigm for this rational view of conservation, and can it offer a better approach  for urban heritage conservation?This article reviews the literature, critiques the RCP and suggests a paradigm shift from rational conservation to pragmatic conservation through qualitative research method and abductive reasoning strategy. The proposed pragmatic conceptual model alters the planning context into a complex and uncertain environment. In this scenario, the conservator is not faced with a neutral and non-political backdrop but rather a heavily politicized world characterized by power dynamics.  Pragmatic conservation underscores the shift from viewing conservation as an external and objective concept to recognizing it as an internal and intersubjective realm.To explain the relationship between the theoretical framework and the practical conditions, a case study research has been employed, utilizing an information-oriented selection strategy. In this article, the authors have selected a significant case at both the national and global levels: the world heritage site of TCHOGHAZANBIL. A storytelling or narrative-based method, which is well-known in qualitative research, has been used to investigatethis site's planning conflicts. Finally, it has been concluded that unlike the technical issues that the RCP has tried to expand over the years and has widely included them in professional and educational programs, heritage conservation is involved in highly political problems in which power relations play a serious role. The story of TCHOGHAZANBIL examplifies resistance within a dependent, complex, controversial and uncertain context. Resistance in this context is formed and operates based on rules and laws, emotions and initiatives and manifests in the form of negotiations, dialogues, coalitions, strategies and tactics.

The Kabir (Grand) Mosque of Tabriz is one of Iran's valuable architectural buildings. Throughout history, it has been the site of official announcements of important events and fatwas from great governments during Tabriz's capital, including Rawadian, Yilian (Seljuqian tributary), Al-Chopan, and Al-Jalair (as local governments), Ilkhans, Turkomans, Safavids, and the Qajar period, where it was the seat of Iran's crown prince. According to historical documents, the formation of this valuable relicdates back to the beginning of Islam, but there are no original historical sources to support this claim. Due to severe earthquakes that occurred during the mosque's lifetime, changes in government, and the change of the mosque's founder, many changes have occurred in its architecture.The Grand (Jame) Mosque of Tabriz has been known as the Great Mosque (Jame Kabir) in old texts since the beginning of the 7th century, and during periods when magnificent mosques were founded by sultans and powerful ministers, such as Alishah Mosque, Rashidiyeh Mosque, Mozaffarieh Mosque (blue mosque complex), and Nasriyeh Mosque, it has always been referred to as the Great MosqueThe area of the bazaar and Jame Mosque has been within the old fortress of Tabriz since ancient times and has always been  part of the settled region of the city. During the Safavid and Qajar eras, important government decrees and orders were engraved on stone slates in the handwriting of the most famous calligraphers of the era, on huge marble slabs, and installed in prominent places of the mosque. Therefore, this mosque has been a significant and invaluable place since the ancient times, and its transitions are of considerable importance and indicate the style of each period. Despite this prominence, Tabriz Grand Mosque has not been fully and accurately studied, and its historical periods and shape and structure have not been adequately considered. In the early1970s, the Department of Archaeology conducted excavations  in the mosque  which resulted in quality  documentspublished as an article entitled "Research in Tabriz Jame Bazaar Mosque" by Mr. Vahabzadeh.This valuable report is primarily a description of the images and related items. According to the findings, the mosque has been planned in the form of a seraglio. However,  since the city of Tabriz is located on a fault, it has suffered significant damage during severe earthquakes, leading to many changes in the mosque’s shape. Despite the mosque's significance, there has been a lack of comprehensive research aimed at identifying the process of its physical transformations., Even in the existing research, these transformations are not examined in detail.The purpose of this research is to conduct a comprehensive study that reviews available documents, categorizes developments, and presents a detailed account of changes and transformations of the Great Mosque.The research methodology employed is descriptive-analytical, utilizing content analysis of historical documents and texts, field visits, and examinations of archaeological reports. The findings reveal that each occurrence of a significant earthquake resulted in the addition of various components to the remaining structures of the mosque, thereby altering its form and introducing new elements.

Monuments have a history of thousands of years and are usually among the oldest symbols of civilisation in various periods. In the Islamic world, a memorial is created to commemorate a person or an event, which is generally manifested in constructing a tomb, whose wide distribution in the Islamic lands is a testimony to this claim. The building known as "Kakh or Qasr-i Khurshid (Palace of the Sun)” in the city of Kalat in the north of Khurasan Razavi province is an example of this type of architecture. This structure was built on the orders of Nadir Shah Afshar (r.1736-47), although its primary function has always been debated owing to its distinct architecture and decorations. Kalat or Kalat-i Nadiri is known as a natural fortress due to a fence of mountains. So, throughout history, it has always been of interest from a defensive and military point of view. This area received particular attention during the reign of Nadir Shah, and several buildings were erected on his orders. Khurshid monument has always been the focus of researchers in terms of its size and appearance as well as the ambiguity of its function. The octagon includes a series of iwans connected by narrow corridors, creating a series of connected spaces of different scales that encircle the cylinder and are suitable for ambulating around the building. The building generally consists of two volumes: a lofty cylinder and an octagonal. The structure comprises three floors: the basement, the ground, and the first. Previous studies have expressed different opinions about the building’s function. Some consider it a palace, and some believe it was initially built as a tomb, which was later converted into a palace. This study aims to investigate the building's function and main architectural features and determine its place in the history of Iranian architecture. The analysis of the building shows that not only in terms of architecture but also concerning structure, significant measures have been taken for its durability and stability against the risk of earthquakes. The research also shows that the building was not a palace or a tomb, but it was built as a governmental monument with a ceremonial function to commemorate the name of its patron. The research findings show that the Khurshid building is a fusion of Iranian and Indian architecture, which are skillfully linked to perpetuate the name of the building’s patron. The structure characterises the idea of a tomb tower as a monument in a new composition. In this sense, it created a link between the traditions of Iranian architecture and the architecture of the Mughals of India. The wide range of decorations with Indian motifs attests to this claim.

The development of computer use in the field of conceptual design has brought doubts and at the same time concerns regarding the maintaining of the significantrole of hand drawings in the design process. In other words, advances in computer-aided design over time have influenced the attitudes and working methods of contemprory designers in addressing problems. According to some designers of the current generation,  computers can now assume the traditional role of hand drawings in the design process. This view contrasts with that  of expert designers who assert that hand drawings still retain a special place in the design process. The aim of this research is to address the question of which of the two tools, manual or digital, is more suitable for problem solving in the early stages of design. By reviewing past studies and analyzing texts using content analysis tables, we sought to provide a comparative assessment of the ability of each tool to enhance the cognitive levels of the design process. The results of our work indicate that computer tools, including modeling programs and parametric design, despite their recent advancements in supporting the initial stages of design, do not perform as effectively  hand drawings in terms of conceptualization and ease of discovery. This phenomenoncan be attributed to the superior capacity  of hand drawings (sketch) in ambiguity as well as the designer's focus on the level of knowledge rather than the level of object production rules or algorithms when utilizing  them. However, Computer drawing tools are capable of providing more accurate visualization than hand drawings, which can be advantageous in more structured problems.This significant finding suggests that the  ability of a tool to improve cognitive levels in the conceptual process is not solely dependent on the tool itself, but it is also influenced by a network of constraints (variables) such as the type of problem, the degree of determination and simplicity of the problem, the interactivity of the tool, time constraints, Interpretation (team or individual design), designer's skill, designer's expertise and numerous other factors. These variables were derived from previous studies. In fact, there are variables related to  design context that play a crucial role in the development of the design process. A change in any of these constraints can affect the outcomes of the design process. Such a framework criticizes previous studies that have primarily  focused onthe influence of the "instrumental ability" variable. Based on this, a model of the impact of intervening variables on the design situation and its relationship with the levels of knowledge was proposed. This hypothesis posits that the selection of drawing tools in the design process is an intelligent and situational decision and it is not feasible  to prescribe a universal and absolute guideline for the selection of tools applicable to all situations and processes. This hypothesis can informthe direction of future research design studies, emphasizing that] the impact of limitations should be considered in subsequent empirical investigations

Cinema has been constantly interacting with architecture since the early days of its formation. One of the fields of this interrelation is the exploration of concepts that exist in the theories of cinema and can betraced in the realm of architecture. The “distancing effect” concept, also known as estrangement oralienation effects, and V-effect (Verfremdungseffekt in German) which has influenced many theorists of cinema and filmmakers is one of them. This concept can be defined through an example. While watching a drama, individuals experience sensory and emotional tensions,identify themselves with the actors, and perceive everything as reality. However, this process is disturbed by the “distancing effect”. They become aware that they are watching a performance, and therefore they are separated from the belief that the events are real, viewing the work with a distant and analytical perspective, away from emotional conflicts. In this way, imaginations and illusions dissipate, and the audience remains fully alert with a seeking and active mind,ready to think. The “Distancing effect” has been developed in many art forms to break simple immersion and identification,provokig self-awareness, social awareness, and reflection. The focus of the present article is to explore “distancing effect” concept in architecture, with the aim of interpreting its manifestations in architectural works. The research method is qualitative, based on theoretical discussions in library resources, where “distancing effect” concept has been explained. Cinema has been employed as an intermediary domain for a better explanation of “distancing effect” approaches, allowing architectural instances  be identifiedmore easily. The contents of  sequences from selected cinematographic works have been analyzed. By adapting them to the world of architecture, examples of this concept have been illustrated in architectural works. In this article, five categories of insideness and outsideness, main narrative and sub-narrative, objectivity and spatiality, parallel narrative, and anachronism are summarized, which can lead to the “distancing effect” in both architecture and cinema. In conclusion, it became clear that the “distancing effect” concept is not solely dedicated to literature or dramatic arts, but it can also be revealed in the field of architecture. various works of cinema and architecture from a wide geographical range are presented as instances of the “distancing effect”. As demonstrated, different famous filmmakers such as Antonioni, Tarkovsky, Kiarostami, Wajda, Wenders, von Trier, Mankiewicz, Bertolucci, and others used the “distancing effect” in their works. Notebly, Brecht theorized his concept in the twentieth century, yet many of the buildings discussed in this research belong to an earlier historical period. This indicates that many architects have (un)consciously used this concept in their works as they want to invite individuals to think, explore, be active, interpret, and be aware of what they are observing. Ultimately, it can be articulated  that the work of architecture plays a more significant role, it is not merely a space to provoke our sensations, but also a universe for deep contemplation and thought.