مجله منظر
پیاپی 19 (تابستان 1391)

The Great Mosque of Cordoba has the world’s oldest continuously planted Islamic garden. Although its presence in a mosque courtyard would seem to confirm its significance as a symbol for “paradise on earth”، the theological authorities of the 9th through 11th centuries did not regard it as such. The paper explores the water management systems that supplied the Mosque’s courtyard of trees and the surrounding landscape. The same mechanisms and knowledge that made the agricultural landscape productive also made gardens flourish. The modern world tends to make a clear division between science (agriculture and hydraulics) and art (gardens and fountains)، but landscape history tests this division because gardens require knowledge and an appreciation of beauty and form، but they also require an understanding of science، especially of how to collect water and make it flow to the places where it is needed. The paper traces connections between science، pleasure، the hydraulic landscape، and architecture to explain the presence of the trees in the Mosque of Cordoba. And claims that the garden in the courtyard of the Mosque of Cordoba does not signify representation of paradise on earth. In addition to the religious meaning of the garden as a reflection of paradise on earth، a meaning shared with other gardens across the Islamic world، gardens could provide pleasure، represent wealth، intrigue the mind، and express in microcosm the beauty of the environment as a whole. We have already seen that even at the Mosque of Cordoba، where the religious scholars frowned on the presence of trees in the courtyard as a distraction from prayer and clearly did not interpret the garden as a reflection of paradise، the fruit had an economic function as a form of payment. And the trees–even today–provide welcome shade in Spain’s hot climate. Therefore running counter to the popular conception of the Islamic garden as a mirror of paradise، we see in the Great Mosque of Cordoba an example of a garden that the theological experts did not interpret as a foretaste of the rewards that await the faithful. To the contrary، they saw it as inappropriate for a mosque، even though historical accounts attest that many mosques around the Mediterranean were indeed planted with trees. Alternative explanations for the presence of the trees are that they provided shade، provided a salary for the mosque’s custodian، and lastly، that the trees were a sign and a celebration of the presence of water، a technological feat of hydraulic planning that reflected the ingenuity of Muslims of al-Andalus and of which Cordoba was justifiably proud.

After Agha Mohammad Khan Qadjâr chose Tehran as Iran capital, major changes occurred in Tehran. One of the strategic elements in this development was "street" role, which was recognized as an investment key for City management to participate in this improvement. Streets were more enhanced and developed by creating more favorable impression of the city, which has a direct relationship with the beauty of the streets.Contemporary Tehran (1850 – 2012) in its four historical periods (Qadjâr, Pahlavi I, Pahlavi II and the Islamic Republic) has experienced different visions in City management. Aesthetics street landscape of Tehran has been seeking for strategies of those visions in construction and management of the street. Many believe that Tehran has visual disturbance, while aesthetics street landscape of Tehran can present the strategy of getting out of those known illness.HypothesisIt appears that aesthetic authorities have always influenced aesthetics street landscape of contemporary Tehran. Having no clear strategy in street landscape has caused the visual disturbance creation in the period of the Islamic Republic (1978 till now).MethodsThis research is based on followings:1.Recognizing street landscape as citizen’s perception of street.2.Referring to official documents and qualitative analysis of the streets for presenting the aesthetic street landscape criteria.3.Analyzing one of the well-established landscape streets in each era. 4.Aesthetics street landscape Interpretation policies based on criteria provided in the selected streets.

Urban art emerged in cities after modernism. Prior to modernism، art was only available in private spheres، among aristocrats or in holy urban spaces. Hence، urban art is characterized by its popularity and its extended range of audience. Cities are products of the refinement of different civic processes which flow through the filter of time; hence، any element adjoined to a city must be formed in compliance with its contextual criteria in the proposed scale. This means that a mere focus of attention on a few structural elements of the city will weaken the work’s function and، as a result، the city itself. As instances of urban art، urban sculptures contribute to the physical and semantic definition of a public sphere. From the most simplistic possible view، any sculpture which can endure weather conditions such as heat and cold and aggressive acts of vandalism can be called an urban (outdoor) sculpture. Another naïve view point will call any sculpture built in the scale of meters (instead of centimeters) an urban sculpture. This is while، as academic studies demonstrate، the formation and success of urban sculptures as well as their spatial identities depend on relations between urban elements. In other words، the extent to which an instance of urban art gains prosperity is reliant on the work’s contextuality and its compliance with environmental potentials. Factors which help define a sculpture as an instance of urban art include the sculpture-space relation and the relation between the sculpture’s physical (dimensions، materiality) and unphysical (subject، style، function) properties – which lead towards the mental properties of urban landscape such as identity، collective memories and belonging – and the space where it is installed، which is in turn centered on environment، architecture and audience. The sculptor and the coordinating urban landscape designer share the tasks of evaluating structural factors and highlighting certain factors against others. For a sculpture to be acknowledged as an urban work of art، there must be a symmetry between the sculpture (dimensions، subject، style، goals، function، etc)، spatial specifications (environment، architecture، audience) and economical، social، political and cultural circumstances. Studying sculpture and space as the two major formation factors of urban art and presenting instances of urban sculptures in Tehran from different points in history، the present article intends to investigate the above relation and find the reasons why these sample works were accepted or rejected in the urban context.

Bernard Lassus’s theories have been started with the research of readability، light، color and form، and have been ended to the Garden topic as Landscape perspective. He considers landscape as an unlimited and understandable horizon through the look; Horizon which motivates practical training of place organized by considering the unlimited imagination. There is a complicated relationship between object (essence) and landscape. General usage of the word «Landscape» and continuous research in defining this word explains the difficulties in linking the objects. Considering this relationship in the landscaping method، depends on a momentary look which covers only some visible parts of the space from a visual aspect. Therefore، landscape is an imaginary look، atour surrounding places and environment. Bernard Lassus’s method in his projects is to organize places by considering the boundary between reality and appearance. He has his own method which predicts landscape exactlywith the tools. This article tries to investigate his theoretical process. The relationship between light، color، and visual and tactile feelings is the considerable subject here. The desirable terms، main and classic perceptions of landscape are light، color، visibility and imagination. Lassus’s researches started from the relationships between color and appearance since 1950، and he was always thinking of these concepts. The landscape and the color are extremely linked to each other. The «Visual aspect» theory is presented based on the experiences and researches about the difference between being visible and physical reality of visibility. The Environment is a unique frame composed of spatial، visual، and full of objectives which make a whole together and become worthy by communicating with each other، not by getting together. Every object has a particular place compared to other objects in this unique landscape. Bernard Lassus’s researches started from a frame surrounding an object which dynamic interaction with the environment and ended to landscape understanding. This research depends on the series of processes which are ended to the basic concepts by considering the object and its position in the environment. The appearance، finds its growing in the gap of reality and appearance by «revolutionary» evidences. We don’t need the physical conversion tochange a landscape، and only the minimal intervention is enough. Lassus uses the visual techniques which include two scales: residents scale and landscape scale، the two different perceptions and landscapes. «Landscape residents» is an unknown inspiring footprint in Lassus’s researches. Research which looks for visual mechanisms understanding of a landscape’s general aesthetic. Bernard Lassus’s «Landscape residents» are the simple ones who change their life and home environment-no matter how small it is -. These residents create different scales of miniaturized Garden- Landscape through their imagination. Each of the creativity represents dreamy and non functional space. Only the one who dreams، would be able to understand vertical imagination: That’s the Garden. His profound thought got involved with gardens of imagination since 1961. He represented the new perspective of dramatic- ethnographical anthropological of the landscape which was founded in the infinite area (immeasurable area) on that time. Claude Lévi-Strauss considers the landscape residents as a new field between dramatic-ethnographical anthropological researches and studies. Lassus represents a landscaping method in which location and the creative mind (subject) are intimately linked. This process doesn’t create an object، but creates landscaping relationships; So that “the aesthetics as a landscape making method” which has root in place and basis in imaginary، is expressed. Lassus called landscaping as a conversion and motility art of the path، due to its impressionability. This probably should be the clearest lessons of Bernard Lassus. Merely the landscape democratic method can recognize the location and residents participation in selecting interventions، and can give landscape the value. Discovering places shows the cultural diversity، belonging and acceptance. These are the parts of a path which makes the life easier and more enjoyable for all near and far residents، and goes towards variety with all its contradictions and diversity، the enjoyable path for vision and spirit، a new garden for our world، open path، as a landscape totality. The modern path that discovers the depths of places، and the architect as an exhibitor، will create landscape method.

The coexistence of people with different ethnic and religious affiliations in India has led to the emergence of diverse identities and mixed cultures in the country throughout history. India is currently facing an identity crisis considering the differences between people in terms of economic conditions، social status as well as religious background. What is already deteriorating this identity crisis is the inability of the government to find for ways to bridge the gaps between people in different levels. India’s modern status as an industrialized country has also played a crucial factor in deteriorating the country’s identity crisis which is clearly visible in different aspects، particularly with regards to the designing of urban spaces of cities. Additionally، India has taken influence from Western architectureas the result of years of colonialism. This is generally believed to have contributed to the country’s identity crisis in such a way that the indigenous aspects of Indian architecture is today missing in the country’s urban structures. What is visible instead is urban spaces like parks which have been built based on British designs. Those urban spaceswere basically void from any specific landscape value and were mostly garden projects which were built regardless to the characteristics of their surrounding environments. Accordingly، the role of the first generation of Indian architects graduated from international universities was significant in reviving the Indian identity particularly at a time that the country was already moving on the path of development. Mohammad Shaheer is a renowned pioneer of contemporary Indian landscape architecture who has been engaged in studying and restoring the country’s historical sites. Shaheer has been able to combine the principles of traditional Indian architecture with modern cultural elements to introduce a successful mix for building urban areas which best displays the Indian culture. The presentarticle studies developments in India’s architecture before and after colonialism and looks into their relations to the Indian culture and identity. It will then scrutinize Mohammad Shaheer’s identity-based approach in designingthe architecture of important national sites like Vir Bhumi، Sanskriti Foundation and Chowk-Town Square.

The notability and value of historic gardens from cultural landscape aspect and the role of these gardens in restating the culture and civilization of a society have made the protection and rehabilitation programs twice as important. Therefore، in countries with renowned ancient landscape and gardening civilization، an important part of conservation and rehabilitation programs is allocated to the preservation، restoration and rehabilitation of the site and historic gardens. On the other hand، the importance of this issue has lead to establishment of various and even opposite approaches in restoration and rehabilitation of this cultural heritage as well as declaration of multiple charts and statements about the revival of other historical sites in this area. Although differences in these approaches are found، it is clear that mere restoration of historic is not enough and there should be an effort to create a variety of functions and activities to bring people and modern city life to these places. The remarkable thing is that in many of these approaches the human life is considered as a key element in revitalization and rehabilitation of these spaces. Since the historic gardens are parts of the cultural landscape and considered cultural achievements of each community، their physical preservation is not enough and regarding their hidden historic and cultural layers، the transfer of cultural values involves the human presence in space. Therefore، the landscape architect has acted differently in rehabilitation of historic gardens and has considered various factors in this process. Meanwhile، the knowledge of landscape relying on different aspects of history، culture، environment and city، in restoration and rehabilitation of historic gardens embraces the modern culture and context of the city in order to connect the cultural-historic achievements. Therefore، this new approach looks upon rehabilitation of gardens as places for assembling people in order to revive them. As a result، these gardens will be considered historic collective spaces and they will turn into dynamic public places by bringing human and cultural activities to these places to preserve and transfer cultural values. This paper tries to challenge Mohammad Shaheer’s approach as a landscape architectin rehabilitation of this historic garden by reviewing the restoration andrehabilitation of Babur gardens. Mohammad Shaheer’s experience in restoration and rehabilitation ofBabur gardens showcases that the revival of a historic garden goes beyond preservation and restoration of physical and even landscape elements. In this case، the importance and impact of the garden on adjacent city structure and residents has lead to the intervening of the rehabilitation program in the city to affect the quality of life for people. It shows that a landscape architect can review and identify specific and potentials of a historic garden and facilitate them appropriately to meet the needs of contemporary community and generate a significant presence of people in this historic place and eventually guarantee its self-sufficiency and sustainable development.

City is a phenomenon arising from the community، geography and culture and it is formed from the relationship and interactions between spaces، attitudes، and social - cultural and historic fields. Following an urbanism tradition of colonial period in modern Indian cities، there exist open independent and governmental spaces that are allocated to national ceremonies. The existence of these independent spaces results in appearanceof monumental urban spaces which disconnects these spaces from human aspects and eventually from the city. The dynamics of urban open spaces in the old fabric which are in relation with other live movements of neighborhoods in the city and have caused various collisions in encountering urban historic tissue. These approaches have been extended to the whole city just from a single building interference. But the only goal in the protections of heritage collection in historic tissues is the combination of protective goals، cultural revival، social–economical development، environmental development and urban development is the main goal in the interference. This type of interference is not a new approach in the city area since the creation of outdoor space networks had been expressed in planning and urbanism before. The ides of connecting parks and green spaces which was first expressed in America in 1887، and utilizing the principals of continuity and connection in Isfahan urbanism in Iran، which is the principals for connecting natural elements (water and natural spaces) and artificial elements (markets and human activities in them) have been the most essential factor that connected urban spaces to each other (like Old and Imam square connection through designing market line between them) and created a network of spaces. This issue has also caused the old and new urban spaces to connect and continue living. Delhi urban tissue and other Indian cities are also a combination of these spaces، monuments and local life movements all together. Meanwhile، an Indian landscape architect، Mohammad Shaheer suggests his developmental idea of interlocking networks of the open spaces for Indian cities، and he has examined his idea in Nizamuddin renovation project which has three independent Heritage collections including Humayun Tomb، Sunder Nursery Garden and Hazrat Nizamuddin Basti Neighborhood. Through local empowering in historical tissue، he has provided an infrastructure in Delhi sustainable development and the enhancement of people presence in historical tissue as the Space Sustainability key، by definition an interlocking network of urban spaces and activities together in a historical context. This article investigates special Mohammad Shaheer’s approach in Humayun Tomb، Sunder Nursery and Hazrat Nizamuddin Basti unified revival projects.

Cities have a vital resource and it is the citizens. In today’s world، talents، demands، motivations، dreams and the creativity of citizens is gradually replacing the traditional advantages of cities like the location، the natural resources and the proximity to markets. The creativity of those who live in a city or those who manage its affairs ensures its prosperity in the future. While the challenges of urban management are becoming larger and more complex، the cities are gradually becoming the laboratories producing technological solutions، conceptual and social issues which arise from growth. The university as a place of emergence of new ideas and the birthplace of science and art has a vital role in the development of the creative class of the communities and hence can have a profound impact on the promotion of creativity. In many developed countries due to relatively good permeability of university walls، an effective relationship between the university and the city has been established. As a result، the university as an urban space could be a place where students from various disciplines meet. The university can also have an implied yet profound effect on the enrichment of the everyday life of the people and can be effectively used to raise the spirit of creativity in societies. This article is meant to review the related concepts in a creative approach and review the several successful global experiences in using the open spaces and campuses of the universities. The article further highlights the influence of these places in nurturing creativity. Accordingly، the need to take the role of universities on this front is underscored. The article concludes by emphasizing the need to utilize public spaces in universities in such a way to increase the potential to promote the creativity and the development of the cities.

Public spaces are one of the most important urban elements in such a way that the city is mainly known by its public spaces. Considering that creativity needs space، opportunity and environment، public spaces can create the groundwork by developing social interactions so that citizens have the opportunity to show their creativity، as social interactions help people share and materialize their creativities. On this front، the most important role of public spaces is to provide the atmosphere for such interactions. Urban space in general and public space in particular can appropriate the environment to show creativity. Since space is one of the pillars of creative city، appropriate public space can provide the proper groundwork for the creative city. With the appropriate public space، the citizens will be given the opportunity to show their creativity. Creative and innovative city is a new issue in the field of urban studies that has been emphasized in a knowledge-based society. The researchers that have been carried out in the field of creative and innovative cities have only focused on the role of creativity in the development of cities and have not paid but a strong attention to the need to eliminate the constraints and the barriers. Creative cities are important to any nation considering that they become the driving force of economic growth and the accordingly help the development of cities، regions and nations. In this context، the city is looked upon as a place of creativity، knowledge and innovative industries. There is a consensus among scholars that all human capitals are creative and innovative. Therefore، the urban spaces have conditions that can attract and maintain these capitals. It is also necessary to consider that urban management needs to be creative and that the role of public spaces on that front should be taken into consideration. This is because the lack of creative urban management solutions will frustrate efforts to prepare the groundwork for the creation of a creative city. It will to the same effect undermine the creativity of citizens and will also harm the public spaces of the city. There is a strong correlation between space and creativity. Public spaces have the advantages and features that can have an important role in the creation of a creative city. These advantages include: Participation: Public spaces in cities provide public participation. This public space is an important element in shaping the creative city. Vitality: Today، the attention devoted to the quantitative aspects of space planning and design has reduced the quality of public spaces. Public spaces can provide happiness and vitality in cities and communities. Variety: One of the important elements for the creation of a creative city is variety. According to Jacobs، variety provides a suitable background for the development of creativity and innovation and public space provides the groundwork for this variety. Identity: Native arts and handicrafts are symbols of the creative people in any city and public spaces are very good places to display these activities. Attractiveness: Public spaces create an attractive environment for creative people. Unique and attractive public spaces can be perfect venues for the creative people to display their talents. Economic Value: Creative individuals and businesses usually are vulnerable to several economic issues like rising housing prices. Such issues could easily jeopardize their creativity. It is therefore necessary to be aware of the economic conditions of the creative citizens. The results of this research indicate that public spaces، having the above advantages، are perfect places that can be utilized to maintain and promote the creativity of citizens and in short facilitate the development of creative cities.

Urban renewal of cities and their adaptability to modern living conditions and developments is the main agenda of urban and regional planning in all developed and developing countries of the world. In an era that a series of city transformations in social، demographic، technological and economic geography fields has been witnessed، it is an undeniable necessity to focus on the inner cities and use their capabilities to promote their social and economic conditions. Renovation with creative urban regeneration is based on the relationship between economics and culture، creative place making and also branding place in the competitive global economy to benefit from opportunities for creative and knowledge based activity in economic globalization era rather than seeking to overcome social exclusion. City center and particularly historic zone have the capacity and potentials for building a unique and creative space needed to attract and retain creative class and innovative groups of people and institutions for social interaction and clustering. This paper reviews the model of innovation hubs as a set of urban policies in the field of creative urban regeneration for specifying the possibility of revitalizing historic cities in the country to take on the role of production centers in the creative and knowledge-based economic development. Conceptual model of innovation hub is urban policy for use of science، engineering، media، culture، art، IT and creative design in the process of city redevelopment and revitalization of neighborhoods. Experience in the post-industrial and globalized economy with new studies show the importance of region in the field of urban planning and production process. In fact، we are witnessing the rise of new regionalism. In this form of regionalism and importance of place and geography، urban cores are the major players. One urban region can''t be successful، creative and innovative region without a successful urban core and creative city center. In this approach، the communication، interaction and cooperation within and out of the region lead to the higher competitiveness of the region. Therefore، Networking between urban areas and creative cores are considered the main priorities. The strategic axes of innovation hub model are Connectivity and Accessibility، Governance، Clustering environment، Talent and social environment، Natural environment as well as Cultural and physical environment. Strategy and policy is necessary for each of the previous axes in order to create smart and creative places. Florida and Laundry illustrate the importance of environmental quality in attracting innovative and creative people and raising social and intellectual capital. Creative capital in the global economy is the most important for achieving higher profits. The important point is that creative people are often attracted to environments with more presence، talent، technology and tolerance. Diversity and tolerance are more evident in environments with more presence of cultural and artistic talents. Such environments are also more attractive for scientific and engineering creativity. Implementing innovation hub policies are more likely in places such as historic zones، seashores and abandoned logistic urban areas. It is interesting that historic zones in the center of major cities of Iran include innovative features for creative place making. Architectural and cultural heritage has evident presence in these sectors. Diversity in urban construction from different historical periods as well as multiple functions in these vibrant cities is quite obvious. Therefore we can guess that the innovation hub model in historic area can attract creative capital for architectural revitalization and economic redevelopment in an effective manner. This Innovation hub policy can activate economic developments in other parts of the city by using creative and knowledge base activity in the historic region. The country needs to make national policy to promote innovation and creativity in cities، but local urban managements can only use cultural and economic capacities of the central and historical zones for planning development in the cities. Hypothesis: Implementing a conceptual model of innovation hub in central parts of cultural-historic cities of Iran can be useful in creative regeneration of spatial structure and daily functions of valuable historic parts of the city.

It is quite obvious that there have been a few researches on environment and environmental effects on developing creativity in the field of creativity and its development and that clarifies the necessity of further researches in this field. In the field of cognitive development in children، children’s adventuring in their imaginations and their imitation from television and video game legends instead of adventuring in the surrounding environment is a considerable issue at the present time. In other words، children spend an «artificial childhood» that is exactly arranged by adults. In this case، the worse negative consequence is the way the children grow because they are not expected to express creativity or curiosity. The children who live in low-quality environments lacking mobility and free activity and flexibility، will eventually turn into idea “consumers” instead of idea “producers”. Firstly; this paper tries to discuss the concept of creativity and effective factors on development in children in two categories: personal factors and environmental factors. A comparative discussion on the field of creativity explains that most researches about of creativity development have been carried out in the fields of psychology for gaining the techniques for individual creativity development while there have been a few ones on the effects of physical environments on developing creativity in children. However، most experts believe that the environment has more prominent role in developing creativity rather than personal factors and the Changes in environmental factors is much more convenient than individual characteristics and talents. In fact، we cannot focus creativity on one dimension. The individual، environmental، process and product dimensions cannot express their creative nature alone. Therefore، creativity is the result of personal factors، process and product of the social environment in which they interact. Secondly; regarding the significant role of environmental effects on developing creativity in children، this paper declares that physical spaces are able to convert into places for developing creativity. These places should be designed in a way that the detection and tracking capabilities to fulfill all necessary facilities for a variety of child''s social activities becomes possible and they can also underlie the opportunities to learn from the environment، and the shaping of child’s physical characteristics will be strengthened by their participation in these places. Focusing on education through free and self relying activities in children will lead to gaining personal experiences. Therefore، children will experience new things by interacting with the surrounding environment and expanding their mind libraries. They will be visually educated while having free activities in the physical environment and this will be effective on developing creativity in children. Eventually; regarding creativity producing and urban planning، this paper suggests that urban open space as a significant mediator that connects children to the outside world has an essential role in their identification as well as their mental، physical and psychological growth and their social personality formation. The function of urban open space is an effective context for the process of improving knowledge and experiences of children''s mental experiences and providing games and activities in formation of children''s personality as well as enhancing their mental and physical abilities. In such environment، the children organize a system of information based on their previous knowledge. In this case a basis for future mental library of children will be shaped which will be considered the first step in developing creativity as explained in creativity section. Thus، urban open space is considered a type of learning and educating environment in childhood that includes a wide range of cognition and activities required for raising a creative person.

In this paper the concept of “Creative City” is introduced as an innovative and progressive paradigm towards urban management to solve numerous and varied complex and interrelated challenges of contemporary urban context. Based on many profound and radical changes of the urban environment، creative city is defined as a strategic approach in speculating، rethinking، planning and implementing urban plans and projects as well as policies and programs. It influences many aspects of the civic life including the social، cultural، economic، financial and business dimensions. Urban creativity tries to integrate ideas of a wide array of interests and encourages public participation of all stakeholders including citizens، owners of businesses، planners and designers in addition to managers. In order to accomplish this goal، a shift of perspective through with the city is looked at is mandatory; from a rigid bureaucratic process towards a dynamic and flexible procedure for urban policies، plans and projects. Creative city can have great influences on urban planning and management and the whole city in a broader sense. It can bring new latent and unforeseen opportunities to the urban environment. Creative solutions and innovative strategies to overcome the challenges of cities appear to become attainable by making best of the available physical and intellectual recourses that the cities possess. The quality of life within the cities and the urban livability is directly related to the success of urban planning and management. As a revealing and representing example، “City of Melbourne” is considered as one of the world’s most livable cities and the quality of life in this city is located among the highest in worldwide rankings. In order to maintain its position and improve its performance، the City of Melbourne has established goals، objectives and indicators to measure the effectiveness of the activities related to urban planning and management. The eight goals of urban management in Melbourne include; city for people، a creative city، economic prosperity، a knowledge city، an eco-city، a connected city، lead by example and manage the resources well. Each of these goals is defined and the objectives and indicators are presented in this paper. Under the theme of “Creative City and Urban Management”، the goal of creative city in Melbourne is elaborated in the light of livability and quality of life concepts. The future plans for Melbourne have identified creativity as one of city’s major strengths and try to build up on this as a great opportunity for the citizens. Consistent with the City of Melbourne’s objective of creating an inclusive environment that encourages participation of all citizens and stakeholders، the urban management has revised its strategies and aims to encourage a vibrant، creative community and sets out a vision for nurturing and enhancing the quality of life and level of livability within Melbourne Central Business District and Metropolitan Melbourne inner and outer suburbs. In addition to presenting case specific progressive urban strategies and solutions، the results of the case study of Melbourne can be utilized by urban planners and managers in other cities as a successful example in terms of targeting goals and establishment of objectives and indictors in urban management performance.