@article { author = {Mansouri, Seyed-Amir}, title = {In Midst of Mountains and Desert}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {7}, number = {31}, pages = {3-3}, year = {2015}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {This issue of Manzar magazine was published with a delay. In the meantime, the sad news of the decease of Dr. “Ahmad Shahir”, the Indian landscape architecture influenced the professionals of his field profoundly. Professor Shahir had written articles on restoration of Indian and Afghanistan historic gardens in Persian style. He had a significant role in updating and activating Persian garden in the current life. His experiences in architecture and restoration of Persian gardens are precious remnant for the youth. May God bless and rest his soul in peace. Tehran is confined collaterally by two natural features: Alborz Mountains in north and salt desert in south. These two are the most significant elements defining Tehran territory and creating a way for Tehran people to interact with the environment; while there no sign of them exists in city currently. Landscape is born of man and environment interaction; if their dialog proceeds normally. External interferences lay destructive effects on the system based on their mutual interaction, creating a disheveled landscape with few fundamental landscape signs. A landscape that has headed a normal process in its formation is a context that creates space (place) for its residents while being legible to its observers. Mountain and desert, two fundamental landscape elements of Tehran are derived to margins in today’s city image. Despite the fact that living in their contradicting midst brings a privilege to Tehran and turns it into a unique city for tourists and citizens, the two mentioned elements are middle and micro landscape elements that can set urban projects and program foundation. Rivers that flow from the mountains to the plains connects two main elements of Tehran landscape and they are considered as the backbone of the city. The material and colors of the earth in the heart of stone mountains and clay plains feature a distinctive composition. The north to south slope with flowing streams within and the blowing breezes explicates the city orientation clearly. Eight hundred altitude variances create two different climates with two distinctive solar radiations and two blue colors of sky, light, heat and vegetation. The persistence of these differences and many other characteristics in history has determined two separate identities for the north and south of Tehran, if observed, rejection of original landscape elements will remain on the face of Tehran, turning it into a son without a father. Traditional cities of Iran with such characteristics, due to lack of human interferences, offer legible and interaction based landscape and these similarities provide beauty. Modern cities, slaughtered by intoxicated outcries of master plan, lose their connection with environment; since engineers do not only know everything, but also resist variation. Thus, despite the call of "Revitalization Tehran Landscape" from every corner, in a way that even the supervisors of the master plan are also chanting it, the answer is not practical. The cover picture is obtained by Aida Alehashemi’s and Farnoush Poursafavi’s participation and their technological combination of the two photos where the dilemma of polluted air and visual processes led them through building up a true picture of actual Tehran territory.   Editor- in- chief}, keywords = {}, title_fa = {در میانه کوه و کویر}, abstract_fa = {این شماره مجله، با تأخیر نسبت به موعد خود چاپ شد. در این فاصله خبر فوت استاد «محمد شهیر»، معمار منظر برجسته هندی موجب تأثر علاقمندان این حرفه شد. استاد که مقالاتی برای مجله منظر نگاشته بود، با مرمت باغ‌های تاریخی هند و افغانستان که به سبک ایرانی ساخته شده بودند، نقش مهمی در روزآمد کردن باغ ایرانی و فعال‌سازی آن در جریان زندگی امروزی داشت. تجربه‌های «محمد شهیر» در معماری منظر و مرمت باغ‌های ایرانی یادگاری گران‌بها برای جوانان امروز است. روحش شاد و پرفتوح باد...   تهران، از دو سو با عنصر شگرف طبیعی محدود شده : کوهستان البرز در شمال و کویر نمک در جنوب. این دو مهمترین عناصر منظر قلمرو تهران هستند که نقش اصلی را در تعامل تهرانی‌ها با محیط برای ساختن منظر تهران ایفا کرده‌اند؛ اما امروز کمتر نشانی از آنها در شهر باقی است. منظر، محصول تعامل انسان با محیط است؛ اگر گفتگوی آنها، راه عادی خود را بپیماید. مداخله نیروهای بیرونی آثار مخربی بر سیستم بنیاد شده بر تعامل این دو برجای می‌گذارد که منظری آشفته می‌آفریند، با نشان‌های کمی از عناصر پایه منظر. منظری که روند طبیعی خود را در شکل‌یابی طی کرده باشد، متنی است که هم برای ساکنان، فضا را با معنی می‌سازد (مکان) و هم قابلیت قرائت خواهد داشت برای ناظران بیرونی. کوه و کویر، دو عنصر پایه منظر تهران، در سیمای امروز شهر به حاشیه رانده شده‌اند. فارغ از آن که زیستن در میانه‌ای چنین متضاد، مزیتی به تهران می‌بخشد که می‌تواند آن را به شهری منحصر به فرد برای گردشگران و شهروندان بدل سازد، این دو منشأ عناصر خرد و میانی منظر هستند که هر یک می‌تواند مبنای برنامه‌ها و طرح‌های شهری قرار گیرد. رودخانه‌هایی که از کوه به دشت جاری می‌شوند، حلقه‌های وصل دو عنصر اصیل منظر تهران‌اند که ستون فقرات شهر باید باشد. جنس و رنگ زمین در کوه‌های سنگی و دشت رس، سیمای متفاوتی به ساخته‌های دو پهنه می‌بخشد. شیب زمین از شمال به جنوب با جویبارهایی که در امتداد آنها جاری‌اند و بادی که از دره‌های شمالی به سوی دشت جنوبی می‌وزد جهت را در شهر به روشنی بارز می‌سازد. هشتصد متر اختلاف ارتفاع، دو اقلیم متفاوت را در دوسوی تهران پدید می‌آورد که دو تابش مختلف، آسمان‌هایی با دو آبی متفاوت، تابش نور و حرارت مختلف و گیاهانی متفاوت محصول آن است. تداوم این تفاوت‌ها و بسیاری مشخصات دیگر در طول تاریخ، دو هویت جداگانه‌ای را برای شمال و جنوب تهران رقم زده که چنانچه مراعات شود، رد عناصر اصیل منظر بر سیمای تهران خواهد درخشید؛ و الاّ همسان فرزندی بی‌نشان از پدر خواهد بود. شهرهای سنتی ایران که چنین مشخصاتی دارند، به جبر محدودیت انسان در اعمال زور بر محیط، منظری خوانا و برآمده از حکایت صادق تعامل انسان و محیط دارند؛ و همین شباهت مصداق زیبایی آنها خوانده می شود. شهرهای مدرن، که ذیل عربده‌های مستانه مهندسان با طرح جامع سلاخی می‌شوند، ربط خود را با محیط از دست می‌دهند؛ زیرا نه تنها مهندسان همه چیز را نمی‌دانند، بلکه حیات منافشان نیز مانع پذیرش تغییر است. از این روست که علیرغم آن که ندای «احیای منظر تهران» از هر کوی و برزن آنچنان برخاسته که حتی متولیان طرح جامع نیز شعار آن را می‌دهند، اما پاسخی عملی نمی‌یابد. عکس روی جلد محصول مشارکت «آیدا آل‌هاشمی» و «فرنوش پورصفوی» و مداخله‌ای فناورانه در دو عکس است که تنگنای هوای آلوده و زوائد بصری وادارشان ساخت تا این‌چنین بتوان تصویری واقعی از تهران در قلمرو خود به دست داد. سردبیر}, keywords_fa = {منظر,کوه,کویر}, url = {http://www.manzar-sj.com/article_12949.html}, eprint = {http://www.manzar-sj.com/article_12949_26c8918027c9c59d12a3d03836d2183b.pdf} } @article { author = {Atashinbar, Mohammad and Mortazi Mehrabani, Elnaz and Vahidian, Noora}, title = {Persian Garden of Tehran A Creative Landscape by Integrating Tradition into Modernity}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {7}, number = {31}, pages = {6-13}, year = {2015}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {In the new approach to the art of garden construction, garden is viewed as a collective space with a desire to the nature and culture. For this reason, new gardens are not considered only due to the use of clean air and comfort, but rather the development of civil life of citizens. That is to say, in developed cities, one of the main objectives of tourists is a visit to historic and new gardens and parks. For foreign tourists coming Iran, Persian gardens is a goal. Persian garden which is the landscape achievement of Iranian society assumes an important role in representing Iran's civilization; thus, it does not suffice to say that preservation and restoration of previous works in the form of museum-kept state as its continuity requires the design of diverse gardens in accordance with the archetype with regard to the modern needs of Iran. Designed and constructed in 2012 by the consulting engineers of Nazar Research Center, Persian garden is a few among the modernized examples of the archetype in Iran. The garden is currently welcomed by most Tehranian people and has brought about the promotion of space quality and restoration of Iranian identity. The project "Persian garden of Dehvanak" is a move toward urban landscape design in which meaning constitutes the key component of a space. As the first experience of Persian garden design after a hundred years, the project is endowed with a mere historical approach to space; maybe it can be said that a fear of some sort is seen as the application of modern elements in the main concept, because of similar examples. On the contrary, in order to atone for this withdrawal of contemporary elements, an effort was made to design small spaces in the highest compatibility with today life. As a result, on the one hand Manzar Experts are recommended to utilize Persian historic gardens in their designs, and bring it close to the ongoing life of the citizens on the other hand. In the end, is there any contrast in the design approach, if there is, is it traditional or modern? Furthermore, in garden landscape design, details should appeal to everyone most, whether to a consultant in cases such as the form of water feature or to an employer in making some changes in items such as design of planting. In designing small spaces and courtyards, building stone edges being conceived of as the design of an open space and carpeting would eliminate the fluidity and a sense of boundlessness. Meanwhile, a profound view can be spotted that multiplies the quality of space in the major or minor axes of the project without an edge or border with old trees.}, keywords = {Urban landscape project,Persian garden,Tehran}, title_fa = {باغ ایرانی تهران منظر خلاق در تلفیق سنت با مدرنیته}, abstract_fa = {در رویکرد نوین به هنر باغسازی، باغ به‌مثابه فضای‌جمعی شناخته و با میل به طبیعت و فرهنگ طراحی می‌شود. از این‌رو باغ‌های جدید تنها برای استفاده از هوای پاکیزه و آرامش مدنظر نیستند بلکه توسعه حیات مدنی شهروندان در آن‌ها مورد توجه قرار گرفته است به‌طوری‌که در شهرهای توسعه یافته، یکی از اهداف اصلی گردشگران، بازدید از باغ‌ها و پارک‌های تاریخی و جدید است. برای گردشگران خارجی که به ایران می‌آیند نیز باغ ایرانی یک هدف است. باغ ایرانی که دست‌آورد منظرین جامعه ایران محسوب می‌شود نقش مهمی در بازگویی تمدن ایران دارد؛ لذا تنها حفظ و مرمت آثار گذشته به حالت موزه‌ای کافی نیست و تداوم آن مستلزم طراحی باغ‌های متنوع، مطابق با این کهن‌الگو با توجه به نیازهای امروز ایران است. باغ ایرانی تهران که در سال ۱۳۹۱ توسط مهندسین مشاور پژوهشکده نظر طراحی و اجرا شد، از معدود نمونه‌های امروزی‌شده این کهن‌الگو در ایران است. این باغ در حال حاضر مورد استقبال اکثریت تهرانی‌ها قرار گرفته و موجب ارتقاء کیفیت فضا و بازیابی هویت ایرانی شده است. این پژوهش با نگاهی نقادانه به بخش‌های مختلف طرح باغ ایرانی، تأثیر آن بر محیط اطراف، میزان رعایت الگوهای طرح در مقایسه با الگوی اصیل، تعامل اجتماعی و کارکرد طرح در ارتباط با بستر، به ارزیابی مبانی نظری و روش‌شناختی پروژه می‌پردازد.}, keywords_fa = {پروژه منظر شهری,باغ ایرانی,تهران}, url = {http://www.manzar-sj.com/article_12726.html}, eprint = {http://www.manzar-sj.com/article_12726_8087e4fd290035c7ff813cb92dea9ac7.pdf} } @article { author = {Adelvand, Padideh and Salahshoor, Zahra and Ghelichkhani, Azade}, title = {Tehran Squares Sculpture of Figurative Totalitarianism to Abstract Individualism}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {7}, number = {31}, pages = {14-21}, year = {2015}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {Urban sculpture, by leaving the monopoly of museums and galleries, has been put into the urban perspective to help the readability of the city, and also to play a role in improving the visual quality. In this regard, taking into account the mentality of observer, history and context, are known as the most important principles to achieve the above objectives. It seems that the presence of sculptures in Tehran squares from the first Pahlavi era to the present time has developed a process from figurative authoritarianism to the abstract individualism that contains a dialectical contradiction. So that the authority of the state, in the first and second Pahlavi dynasty reflected in the realistic representation of the figures and from the 80s to today, taking a cue from the aesthetics of modernist follows an abstract and individualistic approach. So it might be said that the squares sculpture, as an urban landmark, by being separated from the context and history and ignoring the observer, has not come through the evolutionary process imbedded in symbol-making but with up-taking the abstractionism, has taken distance from giving meaning to the environment. In neither of these two approaches, the square sculpture does not retrieve its placement as an urban art representing an observer-centered art, and in place of a decorative object, the symbolic role of it has even faded due to the lack of attention to the context it has been placed in and the history associated with it. Sculptures in their evolutionary process influenced by extreme modernism, rather than becoming a symbol, have reached to abstraction, so that the impression of symbol is not expected of them. In this regard, locating the sculptures of symposia and special biennales in the city squares that are not context oriented and formed based on the artist's mental frameworks has led to this problem. In general, urban sculpture, as a social issue should not be under the sovereignty of the individual sculptor, but instead it is required to reflect the social character and identity of the city to be able to improve the quality of urban landscape.}, keywords = {Square Sculpture,authoritarianism,Abstractionism,Tehran}, title_fa = {مجسمه میادین تهران از اقتدارگرایی پیکره‌ای تا فردگرایی انتزاعی}, abstract_fa = {مجسمه شهری با خروج از انحصار موزه‌ و گالری پا به عرصه منظر شهر گذاشت تا ضمن کمک به خوانایی شهر در ارتقای کیفیت بصری آن نیز ایفای نقش کند. در این راستا توجه به ذهنیت مخاطب، تاریخ و زمینه، اصولی مهم در موفقیت مجسمه جهت نیل به اهداف فوق شناخته می‌شوند.  ‌ به نظر می‌رسد حضور مجسمه در فضای میادین تهران از دوران پهلوی اول تا امروز روندی از اقتدارگرایی پیکره‌ای تا فردگرایی انتزاعی را طی کرده است. به طوری که اقتدار حاکمیت در دوران پهلوی اول و دوم در بازنمایی واقع‌گرای پیکره خاندان پهلوی و مشاهیر نمود پیدا می‌کند و از دهه 80 تا امروز با الگوبرداری از زیبایی‌شناسی مدرنیستی از رویکردی انتزاعی و فردگرا تبعیت می‌کند. بنابراین شاید بتوان گفت مجسمه میادین به عنوان نشانه شهری با جدایی‌گزینی از زمینه و تاریخ و بدون توجه به مخاطب، روند تکاملی به سمت نمادین‌شدن را طی نکرده است و با انتزاع‌گرایی از معنابخشی به محیط فاصله گرفته است.}, keywords_fa = {مجسمه میدان,اقتدارگرایی,انتزاع‌گرایی,‌ تهران}, url = {http://www.manzar-sj.com/article_12727.html}, eprint = {http://www.manzar-sj.com/article_12727_54512c34536084ec9f26b6663eca618a.pdf} } @article { author = {Eftekhar, Yasaman and Amin-ol-Eslami Oskooyi, Sadaf and Nabibakhsh, Nioosha}, title = {Meaning of Light Lighting Typology of Housing Tehran}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {7}, number = {31}, pages = {22-29}, year = {2015}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {Recently we have witnessed residential lighting features in Tehran which have caused visual turbulence in Tehran night landscape due to the absence of guiding regulations and the lack of public awareness from public lighting entity. This reveals the need for legislations to control this process. To establish regulating principals, a scientific understanding of the lighting in the city has to be fulfilled. In this regard, 50 samples of residential lighting in Tehran in the form of a study were carried out along with extensive field observations. Observations show that the general residential lighting features follow three main approaches including realistic performance, decorative as well as meaningful. In addition, taking into account the conceptual and visual criteria, the facades can be categorized in six groups with different characteristics. The six categories present Tehran's six residential facade lighting styles that are running in parallel in the whole city. According to a sample survey, the most frequent style is the Roman classical lighting in different areas of the city. In the following building facades of the second and third category are more abundant in which designers have paid a greater attention to color and form attractions. Meaningful and selective categories contribute to a small percentage of residential sites in Tehran. Facades in which the lighting is used for instilling a sense of meaning or emphasizing on a certain concept do not have a strong position in night landscape of the city. However, a cycle can be observed in lighting approaches. A cycle which begins with selective (having functional goals) approaches and after passing decorative approaches ends up with the same selective lighting approach in order to express the meaning and particular purpose and aesthetics rather than function focuses. Nevertheless, the decorative use of lighting in residential buildings and a large variety and inconsistency of the lighting of the environment has led to visual inconformity. Categorizing lighting approaches and recognizing theoretical aspects and characteristics of each of these categories can be considered the first step in management and regulations of night landscape of residential neighborhoods.}, keywords = {Tehran,Night landscape,Lighting,Façade,Residential Building}, title_fa = {معنای نور سبک‌شناسی نورپردازی ساختمان‌های مسکونی در تهران}, abstract_fa = {در سال‌های اخیر شاهد رواج نورپردازی نماهای مسکونی در سطح شهر تهران هستیم. این نورپردازی‌ها به‌دلیل نبود قوانین هدایت‌کننده و همچنین عدم آگاهی و شناخت عموم از ماهیت هنری نورپردازی، به شیوه‌های سلیقه‌ای انجام می‌شوند که باعث ایجاد اغتشاش بصری در منظر شبانۀ شهر تهران شده است. این مسئله لزوم وجود مقرراتی در جهت کنترل این روند را آشکار می‌سازد. برای تبیین قوانین سامان‌دهنده نیاز است تا شناختی علمی از نورپردازی‌هایی که در سطح شهر انجام می‌گیرد حاصل شود. در این راستا بررسی حدود 50 نمونه از نماهای مسکونی نورپردازی شده در سطح شهر تهران در قالب تحقیقی با مشاهدات میدانی گسترده صورت گرفت. مشاهدات نشان می‌دهد که نورپردازی نماهای مسکونی به‌طور کلی با سه رویکرد عمدۀ عملکردگرایانه، تزئینی و معناگرایانه انجام می‌شود. همچنین با در نظر گرفتن معیارهای مفهومی و ظاهری می‌توان نماها را در شش‌ دسته با ویژ‌گی‌های متفاوت مورد بررسی قرار داد. طبقه‌بندی رویکردهای نورپردازی و شناخت ابعاد نظری و ویژگی‌های هر یک از این دسته‌ها، می‌تواند اولین گام در مدیریت منظر شبانۀ محلات مسکونی و ایجاد قوانین هدایت‌کننده در این زمینه باشد.}, keywords_fa = {تهران,منظر شبانه‌,نورپردازی,نما,بناهای مسکونی}, url = {http://www.manzar-sj.com/article_12764.html}, eprint = {http://www.manzar-sj.com/article_12764_595d8266814c11a14234f6a1a65732c3.pdf} } @article { author = {Poursafavai, Farnoush and Eskandari, Samira and Zahedi, Maryam}, title = {Green Roof or Roof Garden? Looking to the Recent Experiences of Tehran}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {7}, number = {31}, pages = {30-37}, year = {2015}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {Construction of green roofs in Tehran has increased in recent years. Although the creation of green space on the roof has been existed in the past Iranian architecture, but today by advances in technology and infrastructure, and the arrival of new materials which make the creation of this space with the speed and quality than ever before possible, embracing green roofs has been significantly increased. The growth of garden-making on the roof in Iran, thanks to advances in recent years in the field of green roofs in the developed countries, especially European countries, has become possible and it is expected to take place by focusing on sustainable development and welcoming ecological design and green architecture. However a closer look at projects that run today in Tehran shows that development of green roofs in Iran is not necessarily consistent with that in the world. The most important feature of a green roof which makes it different from the world samples is the lack of environmental incentives in its creation. Green roof in Iran has fundamental differences with its international samples. In the leading countries in this field, environmental incentives have been the most important factor in its development; however in Iran, green roofs are constructed with functional and aesthetic aim. It can be said that modern samples of roof garden in Tehran has not fundamental differences with the samples built in several thousand years ago. Today in Iran roof garden is primarily created with the beautification aim and the general approach of space decoration is ruling. Garden building in Iran today's roofs has dual direction: on the one hand, tends to the Iranian landscaping which is symbolic and depends on the environment; on the other hand it is modern and luxurious and tends to aristocracy; while trends in Europe is mostly environmental. Although welcoming the green roof is the potential for its expansion in Iran cities, but promoting such garden roof along with lack of knowledge and recognition among the general public creates an unreal image of green roof which its building at the macro level will lead to many challenges. As a result, considering cultural factors in addition to climatic factors is essential in localizing the green roof. Furthermore, an important part of the measures that can be taken by the government which less attention has been paid so far is educate and promote awareness in this field. Welcoming the green roofs in some parts of Tehran areas is the potential which would bring about the valuable experiences if accompany with the intelligent attention and governmental support.}, keywords = {green roof,Roof Garden,Vertical Green Space}, title_fa = {بام سبز یا باغ‌بام؟ نگـاهی به تجـربه‌های اخیــر تهران}, abstract_fa = {ساخت بام‌های سبز در تهران در سال‌های اخیر افزایش پیدا کرده است. گرچه ایجاد فضای سبز بر روی بام از گذشته در معماری ایران وجود داشته، ولی امروز با پیشرفت تکنولوژی و ورود مصالح و زیرساخت‌های جدید، که ایجاد این فضاها را با سرعت و کیفیتی بیش از پیش ممکن می‌کند، استقبال از سبز کردن بام‌ها افزایش قابل توجهی داشته است. رشد باغ‌سازی بر روی بام در ایران، به مدد پیشرفت‌هایی که در سال‌های اخیر در زمینۀ بام‌های سبز در کشورهای توسعه‌یافته و به‌خصوص کشورهای اروپایی بدست آمده، ممکن شده و انتظار می‌رود در ادامۀ توجه به توسعۀ پایدار و استقبال از طراحی‌های اکولوژیک و معماری سبز اتفاق ‌افتد؛ اما نگاهی دقیق‌تر به پروژه‌هایی که امروز در تهران اجرا می‌شوند نشان می‌دهد که گسترش بام‌های سبز در ایران لزوماً با توسعۀ آن در جهان هم راستا نیست. مهم‌ترین ویژگی بام سبز در ایران، که آن را با نمونه‌های جهانی متفاوت می‌کند، نبودِ انگیزه‌های زیست‌محیطی در ایجاد آن است. همچنین عدم شناخت صحیح از این مقوله در ایران بر کیفیت ساخت آن تأثیرگذار است و جهت گسترش آن را با انحراف و چالش مواجه می‌کند. این مقاله با نگاهی به تجربۀ بام سبز در تهران و ارتباط آن با گسترش بام سبز در جهان، به شباهت‌ها و تفاوت‌های موجود بین آن‌ها می‌پردازد.}, keywords_fa = {بام سبز,باغ‌بام,روف‌گاردن,فضای سبز عمودی}, url = {http://www.manzar-sj.com/article_12765.html}, eprint = {http://www.manzar-sj.com/article_12765_84e28e7b5ca6a66ebceea766347a057d.pdf} } @article { author = {Soltani, Leila and Farnoosh, Fahimeh and Pishro, Nayereh}, title = {Sidewalk Life Sidewalk Path of Imam Hossein (AS) to Shohada}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {7}, number = {31}, pages = {38-47}, year = {2015}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {Sidewalk ability in urban spaces is a quality that despite the direct relationship with the components of sense of place depends on the process by which we build cities and urban areas. The formation process of each space has a profound effect on how life goes on. Accordingly, evaluation of the said process to measure the sidewalk ability of a location (based on the aspects of sense of place) and scrutinize its qualitative characteristics could be the theme of organizing, planning and selection of urban-build rules. Although regarding to endless nature of urban plans, contextual evaluation of projects related to sidewalks through evaluation of a space components in  three physical aspects (ecological, spatial, morphological, contextual, visual), mental (perceptual) and behavioral (social, functional and selective) is necessary, but at the current time that multiple projects of sidewalk ability in metropolitan capital are raised from different origins which some are free from approved documents or are under determination and approval of  urban development. Considering the process of projects explanation (within the five-stage framework of definition, planning and design, implementation and feedback) and assessment of previous similar measures and achievement of such approaches has become more urgent. The ultimate goal of the sidewalk project of 17-Shahrivar path, the Imam Hossein and Shohada Square is to improve the quality of the squares, create a place for civil privilege, promote cultural- social life, and create a place for gatherings and ritual ceremonies. However the current living space and improving its quality depends on the historical process in which urban space is formed. The main reason for the failure of the project is in the explanation process including defining, planning and design, implementation and feedback. Environmental intervention could not be the result of thought and values ​​of a small crowd of programmers, designers or administrators, but it is necessary to form based on a transparent, reasonable, rational and participatory process. The relationship between man and man-made urban-environment space is a civil relationship in which the quality shapes the audience behavior patterns. Improving quality, creating a reasonable balance between the different roles of urban areas and focusing on the role of civil society ensures the survival of this relationship. The impact of management factor on the process of implementing a project should never be ignored. In the process of improving the quality of place, going out of daily decisions, and taste-based policies environment which will reversely lead to the reduction of qualitative values; Strategic guidance and management of the city based on landscape and the approved documents of development which being formed on partnership process and common values ​​of community and stakeholders; control of project realization in proportion to the nature and time of the project and after-implementation assessment which ensure the urban activities system; all are integral rings of a chain and in fact open a socio-political world  from which a place has found its existence.}, keywords = {Sidewalk,Imam Hossein Square,17-Shahrivar Street,Civil Privilege,Project Explaining Plan}, title_fa = {زندگی پیاده گذر پیاده از میدان امام حسین(ع) تا شهدا}, abstract_fa = {پیاده‌پذیری فضاهای شهری کیفیتی است که صرف‌نظر از رابطه مستقیمی که با مؤلفه‌های حس مکان دارد، وابسته به روندی است که طی آن شهرها و مکان‌های شهری را می‌سازیم. روند شکل‌گیری هر فضا، تأثیری ژرف بر چگونگی زندگی جاری در آن دارد. بر این اساس ارزیابی روند مذکور منضم به اندازه‌گیری پیاده‌پذیری مکان (بر مبنای جنبه‌های حس مکان) و تدقیق ویژگی‌های کیفی آن، می‌تواند بن‌مایه ساماندهی، برنامه‌ریزی و گزینش قواعد شهرسازانه باشد. اگرچه با توجه به ماهیت پایان‌ناپذیر طرح‌های شهری، سنجش محتوایی طرح‌های مرتبط با پیاده‌راه‌‌ها از طریق ارزیابی مؤلفه‌های مکان از سه جنبه کالبدی (بوم‌شناختی، فضایی، ریخت‌شناسانه، زمینه‌ای، بصری)، ذهنی (دریافتی) و رفتاری (اجتماعی، کارکردی و گزینشی) امری الزامی است، لیکن در بازه زمانی حاضر که طرح‌های متعدد پیاده‌راه‌سازی در کلانشهر پایتخت1 از مبادی مختلف مطرح گردیده، که بعضاً فارغ از اسناد مصوب و یا در دست تبیین و تصویب2 توسعه شهری است. بررسی فرایند تبیین طرح‌ها (در چارچوب مراحل پنج‌گانه تعریف، برنامه‌ریزی و طراحی، اجرا و بازخورد) و ارزیابی روند اقدامات مشابه پیشین و دستاورد چنین رویکردهایی به ضرورتی اولیه تبدیل شده است. این نوشتار مجال کوتاهی است تا فرایند تبیین طرح پیاده‌راه‌سازی محور هفده شهریور، حد فاصل میدان امام حسین(ع) و میدان شهدا با هدف ایجاد مکانی برای توسعه مدنی، ترویج زندگی فرهنگی-اجتماعی و ایجاد محلی برای مراسم آیینی مورد بررسی قرار گیرد.}, keywords_fa = {پیاده‌راه,میدان امام حسین (ع),خیابان 17 شهریور,برخورداری مدنی,فرایند تبیین طرح}, url = {http://www.manzar-sj.com/article_12766.html}, eprint = {http://www.manzar-sj.com/article_12766_386719a72c5177a888b96d194e1f5de5.pdf} } @article { author = {Meschi, Mona and Modrek, Anahita and Asl fallah, Prichehr}, title = {Street Music In Seek of Music Place in City Landscape}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {7}, number = {31}, pages = {48-55}, year = {2015}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {Urban art is a lively event in cities whose concepts are emerged and grown in accordance with changes in societal attitudes, facilities and public life. It includes various arts including performance, graffiti, sculpture and music. Different aspects of urban art are observed in Tehran public spaces where music is played in two macro and micro scales. Despite the influence of music in urban life, it is widely ignored in comparison with other types of urban art so that physical-spatial arena of the city does not provide an appropriate place for music performance. Considering having a suitable urban space for music performance, it is queried whether there is similar condition in various parts of the city for music performance. What do these places feature in making it appropriate for performance? How do these places affect societal and individual attitudes along with street music? This article tries to regain the street music place as a part of urban life and as a lively art. What occurs in contemporary Tehran clearly show that the presence of street musicians is increasing, in macro and micro scale, and its influence is undeniable on formation of urban landscape. In macro scale, ritual music inaugurates immensely. However, ignoring of this art has led to no physical-spatial place for music performance. Observations in Tehran showed that the geographic context by factors such as climate, the economic situation and the type of activities and the dispersal of passers cause differences in terms of musical street performance. Due to favorable climate, recreational spaces and better economic conditions, northern Tehran is more suitable for street performers which only require the physical sense of security and privacy standards for musicians. However, in southern Tehran due to hot and dry microclimate and lack of recreational spaces and activities of the audience, the same street music has emerged in form of ritual, nostalgic music like desert cities. Generally, given the choice of location by musicians, providing mixed use places, particularly recreational, creating a sense of security through the creation of appropriate physical space and adequate lighting along with monitoring, planning and urban management can support street music as a more established urban art. In addition, street music can also benefit from a high social status, increase social interaction and citizen behavior while making people familiar with the customs and culture of different nations. In fact, within these contexts, other factors such as culture and economy can be more influential and more public events, such as combination of music with other urban art will be emerged.}, keywords = {Urban Space,Street Music,Place criteria,Public Life}, title_fa = {موسیقی خیابانی به دنبال جایگاه موسیقی در منظر شهر}, abstract_fa = {هنر شهری، رویدادی سیال در شهر است که مفهوم آن به‌دنبال تغییرات رفتارهای اجتماعی، امکانات و حیات جمعی، رشد و متناسب با زمینه‌ خود ظهور کرده و شامل هنرهای مختلفی مانند نمایش‌، دیوارنگاری، مجسمه و موسیقی‌ است. در فضاهای عمومی تهران معاصر انواع مختلف هنر شهری دیده می‌شود که از این بین موسیقی، اگرچه در دو مقیاس متفاوت خرد و کلان در شهر حضور دارد، اما این هنر، علی‌رغم تأثیرگذاری بر حیات جمعی شهر، در قیاس با سایر هنرهای شهری، کمتر مورد توجه واقع شده است. به گونه‌ای که صحنة کالبدی- فضایی شهر، جایگاهی مناسب برای اجرای موسیقی ندارد. در راستای رسیدن به فضای شهری مناسب که بتواند زمینه‌ای مناسب برای اجرای موسیقی خیابانی باشد، این سؤالات مطرح می‌شود کهآیا در تمام نقاط شهر، شرایط یکسانی برای اجرای موسیقی خیابانی وجود دارد؟ مکان‌هایی که تبدیل به بستر اجرای آن شده‌اند، چه ویژگی‌هایی را شامل می‌شوند؟ این مکان‏ها به‌ همراه موسیقی خیابانی چه تأثیری بر رفتار اجتماعی و فردی رهگذران دارند؟ مقاله‌ حاضر بر آن است با شناسایی موسیقی خیابانی، به عنوان هنری مؤثر در شهر، جایگاه گمشدة‌ آن را بازیابد تابخشی از حیات جمعی شهر به آن بازگردانده شود. }, keywords_fa = {فضای شهری,موسیقی خیابانی,معیارهای مکانی,حیات جمعی}, url = {http://www.manzar-sj.com/article_12767.html}, eprint = {http://www.manzar-sj.com/article_12767_2986ed5a9c7ccfe6871321cb088c36e3.pdf} } @article { author = {Kasravi Gheshlagh, Reza and Mir Lohi, Mina and Esmaeili, Faranak}, title = {Garden Museum or Museum Garden? A Scrutiny on Miniature Garden-Museum of Tehran}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {7}, number = {31}, pages = {56-63}, year = {2015}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {Miniature garden-museum is the first phase of a leisure-cultural complex in Tehran that is used to display a number of miniature replicas of registered World Heritage of Iran. Despite natural, historical, cultural and environmental diversity, miniature garden-museum of Tehran is the first in its own kind in Iran. According to the employer's aim, this museum focuses on displaying a compact demonstration of history and culture as well as familiarizing citizens with the cultural heritage of the country. The basic idea comes from the spirit of Persian garden design combined with irregular spaces to provide miniature models, taking into account the geographic context and distribution of world heritage. This garden-museum offers the dual function of park and museum which varies from other parks. Miniature garden-museum is a new idea emerged out of combination of garden and museum which tends to blend the traditional aspect of museum with public space and offer a new type. The degree of success miniature in this garden-museum can be clarified by studying the goals and strategies of the design parameters and by comparing these goals with what have been projected eventually. The main criteria examined in this process include a sense of attachment to place, creating an exhibitive landscape and a familiar landscape to Persian garden. Despite providing a social space for daily interactions, the place attachment indexes do not show a successful relationship between people and the building. In spite of some aspects of a public space, miniature garden-museum fails to create a sense of place that offers a successful public space. Although the unconscious information provided by displayed replicas of the heritage offers a particular perceptual space that encourages the observer’s being in the space the main critics target the inappropriate choice of location and ignoring the scale of the national exhibited works. Being located in a part of the city incapable of acceptance degrades the museum’s position. The exhibiting landscape features and attention to the landscape requirements, requires a certain type of space. However, predetermined goals are not met due to the lack of service needs and requirements of landscape. Despite using Persian garden elements such as symmetry, garden terraces and viewpoints, disfiguring some of the main elements of the Persian garden and their formal use has made the final project different and contrary to designers claim. Lack of unity among the whole and fine spaces, creates a combination of familiar and unfamiliar elements in landscaping inspired by Persian gardens which decreases the Persian spirit of the garden. In general, despite efforts to use Persian garden and landscape features and creating a public space, the resulting has not met the needs since the composition serves the incorrect formal elements rather than identifying ones.}, keywords = {Museum,Exhibitive landscape,Place Attachment,Persian garden}, title_fa = {باغ‌موزه یا موزه‌باغ؟ منظر باغ‌موزه مینیاتور تهران}, abstract_fa = {باغ‌موزه مینیاتور پدیده‌ایست معاصر که با استفاده از ابزارهای منظر، مفهوم سنتی موزه را با گره زدن آن به فضای جمعی با دستیاری مفهوم سنتی باغ‌موزه دگرگون می‌کند. تلفیق باغ ایرانی و موزه در باغ‌موزه مینیاتور تهران می‌تواند به منظری آشنا را رقم زند که توسعه تعاملات اجتماعی، خاطره‌انگیزی و تقویت حس مکان از نتایج آن است. روند ناخودآگاه دریافت اطلاعات از میراث به نمایش درآمده در باغ‌موزه می‌تواند ادراک خاصی از فضا در اختیار مخاطب قرار ‌دهد که مشوق او برای قرار گرفتن در فضای واقعی اثر باشد. منظر نمایشگاهی و توجه مناسب به الزامات منظر، نوع خاصی از فضا را ایجاد می‌کند که به رونق گردشگری می‌انجامد. در باغ‌موزه مینیاتور عدم وحدت کلیت طرح و جزء فضاها، نوعی التقاط در استفاده از عناصر آشنا و ناآشنا در منظره‌سازی ایجاد کرده که روح ایرانی مجموعه را کمرنگ می‌کند. این نوشتار با بررسی اهداف و راهبردهای طراحی پروژه، تدوین معیارها و مقایسه با آنچه ساخته شده میزان موفقیت پروژه باغ‌موزه مینیاتور را از نگاه منظرین مورد بررسی و تحلیل قرار می‌دهد. معیار‌های اصلی بررسی شده در این روند، ایجاد حس دلبستگی مکان، خلق منظر نمایشگاهی و آفرینش منظر آشنا برگرفته از باغ ایرانی است.}, keywords_fa = {موزه,مینیاتور,منظر نمایشگاهی,دلبستگی مکانی,باغ ایرانی}, url = {http://www.manzar-sj.com/article_12768.html}, eprint = {http://www.manzar-sj.com/article_12768_099d33fd64ee8d0175455e5fa5b17ec1.pdf} } @article { author = {Jamshidyan, Mohammad and Seyed Alipour, Seyed Sadegh and Elahigholiloo, Elnaz}, title = {In Search for a Lake Analysis of Landscape Architecture in Cheetgar Lake of the Persian Gulf Martyrs}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {7}, number = {31}, pages = {64-69}, year = {2015}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {As one of the metropolitan project in the north west of Tehran, Chitgar Lake was built with an aim to make the weather fine and attract tourists. The idea behind the construction of the lake in this area is linked to the first urban programs for Tehran expansion; it was finally opened in 2010. Environmental experts have serious critical comments about it. The view of Landscape has also some serious comments about lack of a landscape strategy for the city of Tehran in offering the suggestion. Due to some reasons including the unique integration of recreational activities around the lake and its large dimension in the first years after the construction, the lake has failed to appeal to anyone. On a large scale, the disparate elements of the lake in the landscape and environment have caused a break in the foothill landscape. Based on large, modest and small scales, the study of Chitgar Lake Project represents managerial and professional gaps in the definition, design, and implementation of the project. In each of the three dimensions, lack of interest in problems concerning the natural context and project subject has caused the failure to achieve the goals of the project and productivity of citizens. On the large scale, an obsolete modernist view and lack of sufficient expert in evaluating previous projects have led to a break in the landscape of the region. On average scale, a professional view on landscape, natural capabilities, and project outlook have been disregarded, and on small scale the multiplicity of ideas and interfering preferences, lack of consistent management from design through implementation and decorative look at landscape elements that arise from lack of landscape view, some consequences on comfort, aesthetics, and natural identity of the complex have ensued. It seems that the entire above matters which arise from order-based and nonprofessional management in an expert project at an upstream glance would have given rise to the results in this project.}, keywords = {Chitgar Lake,Natural identity,Foothill landscape,Landscape break,Aesthetics}, title_fa = {به دنبال دریاچه تحلیلی بر معماری منظر دریاچه شهدای خلیج فارس در چیتگر}, abstract_fa = {دریاچه چیتگر یکی از پروژه‌های کلان شهری در منطقه شمال غرب تهران است که با هدف تلطیف هوا و جذب گردشگر ساخته شده است. اندیشه ساخت دریاچه در این ناحیه به نخستین برنامه‌‌های شهری توسعه تهران باز می‌گردد و نهایتاً در سال 1389 افتتاح شد. متخصصان محیط زیست درباره آن نظرات انتقادی جدی1 دارند. دیدگاه منظر نیز انتقاداتی جدی به فقدان استراتژی منظری شهر تهران در ارائه این پیشنهاد وارد آورده است. به دلایلی از جمله منحصربه‌فرد بودن تجمیع فعالیت‌های تفرجی در اطراف دریاچه و ابعاد وسیع آن در سال‌های اول پس از احداث، دریاچه با استقبال مواجه نشده است. در ابعاد کلان نیز، اجزای ناهمگون دریاچه در منظر و محیط موجب گسست منظر کوهپایه شده است. یافته‌های این پژوهش نشان می‌دهد علاوه بر مقیاس کلان و میانی که ابعاد هویتی و طبیعی را نادیده گرفته‌اند تصمیمات پایین‌دستی در مرحله اجرای نیز صدمات بسیاری را بر آن وارد کرده است. تحلیل اجزای این پروژه منظر از ابعاد زیبایی‌شناسی تا آسایش اقلیمی و ذهنیت مخاطبان از آن، بیانگر این است که عدم وجود نگاهی یکپارچه و واحد در طول زمان اجرای پروژه سبب آشفتگی در برخی ابعاد مقیاس خرد و در نهایت عدم انطباق مجموعه با هویت طبیعی بستر شده است. رجوع به طرح و تحقیقات میدانی، این موضوع را ناشی از مداخلات غیرکارشناسی و برخورد سلیقه‌ای با آن می‌داند که در نهایت به رویکردی تزئینی منجر شده و هویتی واحد را بر طرح مترتب نساخته است.}, keywords_fa = {دریاچه چیتگر,هویت طبیعی,منظر کوهپایه,گسست منظر,زیبایی‌شناسی}, url = {http://www.manzar-sj.com/article_12770.html}, eprint = {http://www.manzar-sj.com/article_12770_cc622f7b858d7a30be027aa3c13b93d6.pdf} } @article { author = {Yarahmadi, Samaneh and Lotfollahi Yaghin, Mina and Tashakori,, Leila}, title = {Predominance on Vehicles Regarding Nature Bridge Approach}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {7}, number = {31}, pages = {70-77}, year = {2015}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {Among all implemented contemporary landscape projects in Tehran, “Nature Bridge” endures a great significance by creating an urban crowded dynamic space in city which promotes public space quality and regenerates a different spatial experience for the observers. It’s being specifically located, this bridge offers a viewpoint to the city that magnifies its attraction and provides a different landscape perception for the citizens to perceive the whole city. The bridge is implicitly a point of view to Alborz Mountains, highways, towers and explicitly a view to the modern life of the city. It can function as an identifying sign in graphic images of day and night in the city. The unique structural form has also derived a lot of attention. Since Tehran metropolis faces great challenges in the process of rapid development including lack of communal spaces, illegibility or confusion in urban complex life, creation of such spaces that leads to perception of meaning and identity for the people and strengthens human-environment link and promotes the sense of satisfaction seems mandatory. Moreover, the design of this pedestrian bridge in a city like Tehran which focuses on vehicle transportation where the concept of 'bridge' was degraded to a connecting factor, this project is a landmark in contemporary landscape projects. Although the sustainable design and construction of the main objectives compatible with the environment was the employer’s and designer’s goals, a harmonious design with the environment and with less ecologically damaging effects, has not been met. In fact, the massive steel structure is used only to connect only two green spots and provides visual access and connection to the nature. The objective of this study is to discuss the employer and designer’s goal and its various roles such as public space and viewpoint. These contribute to the most two evaluation criteria. Furthermore, the bridge naturalism will be evaluated since its being named as Nature Bridge and its function as a connector of two green areas. The project is discussed from viewpoints of different groups, including designer, urban management, professionals, and society and what seems difference and sometimes striking is the contrast between the opinions, indicating a specific approach to the project. To sum up, creating a pedestrian bridge in one of the strategic topographic spots of Tehran is undeniably a positive issue which requires a holistic approach in design and detail and identifying layers from experts opinions in order to maintain the bridge vitality over time and meet the peoples’ need in all subjective-objective such as memorable, sign, social, environmental and economic ones.}, keywords = {Nature Bridge,Contemporary Tehran Landscape,Public space,Viewpoint,Naturalism}, title_fa = {اشراف بر سواره رویکرد منظرین پل طبیعت}, abstract_fa = {در میان پروژه‌های منظر اجرا شده دوره معاصر در تهران «پل طبیعت» از جایگاه ویژه‌ای برخوردار است. این پل با خلق یک فضای شهری جدید و فعال در شهر در جهت ارتقای کیفیت فضاهای جمعی قدم برداشته و همچنین به دلیل موقعیت خاص بستر طرح، نظرگاهی به شهر تهران ایجاد کرده که از عوامل جذابیت آن به شمار می‌رود. فرم سازه متفاوت این پل نیز در شهر توجه بسیاری را به خود جلب کرده است. از آنجایی که کلانشهر تهران در روند توسعه سریع خود با چالش‌های گوناگونی مانند کمبود فضاهای جمعی، ناخوانایی و سردرگمی شهروندان در زندگی پیچیده شهری مواجه است ایجاد چنین فضاهایی که منجر به درک معنا و هویت محیط از جانب مردم شده و پیوند انسان با محیط و حس رضایت از آن را تقویت می‌کند ضروری به نظر می‌رسد. در طراحی و ساخت این پل اهداف متفاوتی از قبیل ایجاد فضای جمعی برای افراد مختلف جامعه، زیبایی، پیاده‌مداری، نظرگاه شهری و طبیعت‌گرایی مد نظر بوده است. این پژوهش میزان دستیابی طرح به این اهداف را مورد بحث و بررسی قرار می‌دهد.}, keywords_fa = {پل طبیعت,منظر معاصر تهران,فضای‌ جمعی,نظرگاه,طبیعت‌گرایی}, url = {http://www.manzar-sj.com/article_12771.html}, eprint = {http://www.manzar-sj.com/article_12771_de1c159fe653ae42c5fafe48bb461c50.pdf} } @article { author = {Miniator Sajadi, Arman and Mohammadzadeh, Shabnam and BoAlizadeh, Neda}, title = {Narrative lines of landscape The Garden Museum of Holy Defense}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {7}, number = {31}, pages = {78-85}, year = {2015}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {Showing the concept of "holy defense" is the main goal for designing of Garden Museum of Holy Defense. The main idea of designing in the project of Garden Museum of Holy Defense in Tehran, stated that is the achievement to an order which is taken from the form of Persian garden that is inappropriate compared to the objective of the project because conveying of the notations in this garden should be tangible for various segments and with presence in the place minimum understanding of the notations should be gained. The landscape of holy defense is a narrative landscape which is presented with different forms of objective or abstract or both, that ignoring this feature in the project causes decorative landscaping and lack of landscaping in the form of hierarchical in the frame of the event to obtain the general notation of holy defense. On the other hand, the detailed plan, has called this region as a cultural recreational area of the city, but for various reasons a few persons is attended at the outdoor Garden Museum, and Garden Museum has changed to a ceremonial and decorated area rather than a conceptual garden. According to assessments made on the basis of triple criteria of "comparison of the plan with holy defense landscape", "attracting of the person" and "reading of the landscape as an event", Garden Valley, "hidden element" in the process of the perception of the persons has been of holy defense that has symptomatic and non-epic landscaping. Landscape of holy defense is essential to be a product of companion elements and its concepts should be interacted with each other. While the landscaping took place in the Garden Museum of Holy Defense, is a product of some holy defense elements, regardless to the security and intellectual perceptions related to understanding the implications of the war. Also the decadence of the architecture landscape project of Garden Museum to a single structure and focusing on the structure of the Museum have caused ignoring the outdoors regions of the Garden Museum in landscaping architecture of Holy Defense and reducing the importance of its role in totality of Garden Museum. Reducing the role of Garden Valley in this system has been resulted in low attendance of audiences in it and converting this area into a green space. While interaction of outdoor spaces with the spaces of the Museum was an opportunity to deliver the same message to the audience and create a narrative perspective that could lead to a single entity called "the Garden Museum"; in this approach, the role of the museum in a unity hierarchical system was more important than the current status.}, keywords = {Garden Museum,Narrative Perspective,landscape Elements of Holy Defense,Reading of Holy Defense landscape}, title_fa = {منظر روایی خطوط باغ‌موزه دفاع مقدس}, abstract_fa = {نمایش مفهوم «دفاع مقدس» هدف اصلی طراحی باغ‌موزه دفاع مقدس بوده است. ایده اصلی طرح در پروژه باغ‌موزه دفاع مقدس تهران، دست‌یافتن به نظمی برگرفته از فرم باغ ایرانی اعلام شده که در قیاس با هدف طرح نامناسب شناخته می‌شود زیرا انتقال مفاهیم در این باغ باید برای قشرهای مختلف ملموس بوده و با حضور در فضا به درک حداقلی از مفاهیم دست پیدا کنند. منظر دفاع مقدس منظری روایی است که به صورت‌های مختلف عینی و انتزاعی و یا هر دو ارائه می‌شود که نادیده گرفتن این ویژگی در پروژه موجب طرح محوطه‌ به صورت تزئینی و عدم منظره‌پردازی به صورت سلسله مراتبی و در چارچوب یک رویداد، جهت دست یافتن به مفهوم کلی دفاع مقدس شده است. از سوی دیگر طرح تفصیلی، این ناحیه را فضای تفریحی فرهنگی شهر خوانده است لکن به دلایل مختلف مخاطبان کمی در فضای باز باغ‌موزه حضور پیدا می‌کنند و باغ‌موزه تبدیل به یک محوطه تشریفاتی و تزئینی شده تا یک باغ ادراکی.}, keywords_fa = {باغ‌موزه,منظر روایی,عناصر منظرین دفاع مقدس,خوانش منظر دفاع مقدس}, url = {http://www.manzar-sj.com/article_12772.html}, eprint = {http://www.manzar-sj.com/article_12772_88e3e07c5695403b56112b78cfce785d.pdf} } @article { author = {Masud Lavasani, Mona and Khamseashri, Aliakbar and Ilyati, Zahra}, title = {Sparkle Wealth Commercial Complexes Lightings Tehran}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {7}, number = {31}, pages = {86-93}, year = {2015}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {Milestones as thriving and communal living spaces are considered evocative places and fundamental elements of every city. Today, the role and position of the milestones in the lives of the citizens of the city at night, has turned them to the main elements of city cognition. Therefore, milestones are decisive in creating the identity of the city which connects citizens’ image of day and night landscape. Due to the importance of milestones in legibility of mind patterns, management of night landscape for enhancement of people’s satisfaction from city spaces and guidance of public desirability is doubled in significance. Currently, night landscape of Tehran is still intricate and illegible despite the temporary lighting programs by urban managers and expenditure in the private sector. In many cases, building lighting does not match the significant milestones and their identity. This article with focusing on commercial complex commercials as coarse milestones, evaluates some new projects dealing with lighting. Initially, lighting objectives and the most important principles as an indicator to assess the current situation were summarized and three commercial complexes (sign) in milestones (on mid-scale) of Tehran were evaluated in the following. Based on the findings of this article, it firstly appeared that the qualitative distance of Tehran night landscape from basic criteria is resulted from the absence of expertise and lighting designers and landscape architects involved in the projects while interviews with design and implementation teams revealed the following results: 1. In the absence of lighting principals, designers and the employers, sacrifice the public's right to have a legible city read for the sake of private interests and rights. Setting criteria for guiding the designers -in stage of lighting design, licensing and supervising of the project to the end- is necessarily required. 2. In the current circumstances and in lack of regulations, if the lighting designers and architects consider themselves as committed to the general principles of design, positive outcomes can be expected from lighting projects while inconformity of designer and architect can undermine the results. More importantly, the employer interference can reduce the quality of design. In other words, in the absence of standards or a jury for expertise support, the absolute rule of wealth over the city, including lighting continues. 3. As a result of the above, the result of large-scale projects and the emerging technologies that manifest the power and strength of his wealth to the city can send wrong message to the citizens: Significant but wrongly ornamented signs in important areas of the city whose beautiful pattern and decoration in the world is considered the leading standard. The hazards of this perpetual misunderstanding are over the previous two problems; because when the public taste is drawn into banality, double efforts are required to pay for its improvement. Prevalence of false understanding of "what is good" can be found in lighting colors and sometimes in various prodigal lightings of residential buildings. Preparation and implementation of a comprehensive document for lighting in Tehran can provide an appropriate mechanism to achieve the desired night landscape. Meanwhile, lighting design and implementation of buildings especially commercial ones, without management of a city as a whole, targets costs and economic feasibility while neglects its impact on the understanding of public art and the national loss.  }, keywords = {Lighting,Milestone,Commercial Complexes,Night landscape,Legibility}, title_fa = {تلألو ثروت نورپردازی مجتمع‏های تجاری تهران}, abstract_fa = {نقاط عطف به عنوان فضاهای پررونق و بستر زندگی جمعی، مکان‏های خاطره‏انگیز و از عناصر بنیادین شهر به شمار می‏روند. امروزه نقش و جایگاه نقاط عطف در زندگی شبانه نیز آنها را به عناصر اصلی شناخت شهروندان از شهر بدل کرده است. بنابراین نقاط عطف نقشی تعیین‏کننده در هویت شهر داشته و پیونددهنده نقشه ذهنی شهروندان از منظر روز و شب است. با توجه به نقش نقاط عطف در خوانایی نقشه ذهنی، اهمیت مدیریت منظر شبانه این نقاط برای ارتقای میزان رضایت مردم از مطلوبیت فضاهای شهر و نیز هدایت و پرورش سلیقه عمومی جامعه روشن می‏شود. در حال حاضر منظر شبانه تهران علی‏رغم اجرای برنامه‏های نورپردازی مقطعی توسط مدیریت شهری و صرف هزینه‏های بسیار از سوی بخش خصوصی، همچنان مغشوش و ناخواناست. در بسیاری از موارد، نورپردازی بناها در نقاط عطف با معنا و هویت آنها انطباق ندارد. این مقاله با تمرکز بر مجتمع‏های تجاری نقاط عطف به عنوان دانه‏های درشت تأثیرگذار بر منظر شبانه، به ارزیابی چند پروژه جدید نورپردازی می‏پردازد. ابتدا اهداف نورپردازی و مهم‏ترین اصول آن به عنوان شاخص ارزیابی وضع موجود به طور خلاصه بیان شد و سپس سه مجتمع تجاری (نشانه) در نقاط عطف (در مقیاس میانی) تهران، مورد بررسی قرار گرفت. در تشخیص دلایل موفقیت یا عدم موفقیت آنها روند طراحی و اجرای این طرح‏ها نیز مدنظر قرار گرفت. در پایان پیشنهاداتی به مدیریت شهری برای هدایت منظر شبانه شهر با کنترل نورپردازی اینگونه بناها ارائه شده است.}, keywords_fa = {نورپردازی,نقاط عطف,مجتمع‌های تجاری,منظر شبانه,خوانایی}, url = {http://www.manzar-sj.com/article_12773.html}, eprint = {http://www.manzar-sj.com/article_12773_781a847a92b2ff51b35988e58f531122.pdf} } @article { author = {Alehashemi, Ayda and Bagheri, Yousef and Akhavan, Erfan}, title = {Imposed or Natural Identity? Javanmardan Park, Landscaping in Kan Valley}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {7}, number = {31}, pages = {94-103}, year = {2015}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {The streams and river valleys of southern hillside of Alborz Mountains have created a special geographical and topographical situation for Tehran city. The rigid and confined approach in confronting river valleys of Tehran in development plans of 1968 has ignored their structural role in providing a city life. It has changed these rivers into a disposal channel for surface water, sewage and a dangerous spot in Tehran city. In master Plan of Tehran (1385), potential river valleys in shaping and defining the spatial organizing of tourism zones Tehran was on the agenda of urban management. Kan River Valley was assigned a tourism element of the city and and an organizing plan for the river was legislated. Javanmardan Park along Kan River valley, located between Hemmat and Hakim highways, within the 5th and 22nd district, was projected and implemented as a product of these policies. Today, after more than 3 years of implementation, the questions on transformation of this significant project into one of the worst parks is still queried. Why a project on this scale with a special emphasis of upstream documents and urban management happen to fail in the end? Why with regeneration aims of river valley, this project is not only successful in attracting audiences, but also changing to a factor in the destruction of the natural and cultural identity of the river valley? This article explains the reasons why Javanmardan Park ignored the primary purposes of organizing and generation based on existing documents and the process of definition, planning, design and implementation. The gap between the objectives and strategies outlined in the organizing plan for Kan River valleys in local and thematic master plan of 2006 and organizing plan of Kan River valley and its surrounding by Armanshahr consulting engineers and major and minor policies of Atak consulting engineers as the major plan of this project are mainly discussed in this paper. Having compared the policies and purposes of upstream plans in organizing of Kan River valley and transforming it into a tourism zone of Tehran city and its obtained results in “Javanmardan Iran”, two main factors are recognized for failure of project definition (Maintaining the natural quality of the valley as one of the most important elements of the city and creating personality, identity and visibility alongside the river). The first factor counts for lack of understanding of consultant designers in recognizing landscape values of the site and landscaping elements of Kan river valley while the second one roots from lack of sufficient technical experience in the design and implementation of landscape architecture in the river bed. While utilizing the river valley potential and generating a tourism zone was primarily planned in the early stages of development and project definition and management. In fact, the designers’ impose landscape and non-landscape identity while changing the valuable natural landscape; a landscape which was aimed for regeneration and conservation.}, keywords = {kan River valley,Javanmardan Park,Organizing plan of Kan River}, title_fa = {هویت طبیعی یا تحمیلی؟ بوستان جوانمردان، منظره‌سازی در دره کن}, abstract_fa = {مسیل‌ها و روددره‌های دامنه‌ جنوبی البرز موقعیت جغرافیایی و توپوگرافیک ویژه‌ای برای شهر تهران پدید آورده‌اند. در سال 1347 رویکرد صلب و بخشی برنامه‌های توسعه شهری در برخورد با روددره‌های شهر تهران، نقش ساختاری آنها در توسعه شهری و تأمین نیاز شهروندان را نادیده گرفته و رودخانه‌ها را به کانال‌های دفع آب‌های سطحی، فاضلاب و نقاط حادثه‌خیز شهری مبدل ساخته است. در طرح جامع تهران (۱۳۸۵)، پتانسیل‌ روددره‌ها در شکل‌دهی سازمان فضایی و تعریف پهنه‌های گردشگری در دستور کار مدیریت شهری تهران قرار گرفت. در این میان روددره «کن» به عنوان محور گردشگری شهر انتخاب و برنامه ساماندهی رودخانه و پیرامون آن تدوین شد. بوستان جوانمردان در تابستان سال ۱۳۹۱در ساحل رودخانه کن حدفاصل پل بزرگراه همت و بزرگراه حکیم، در مرز میان منطقه ۵ و ۲۲ شهرداری تهران، به عنوان محصول عملی این برنامه‌ و سیاست‌ها به بهره‌برداری رسید. امروز با گذشت بیش از ۳ سال از بهره‌برداری بوستان جوانمردان، تبدیل این پروژه مهم به یکی از ضعیف‌ترین بوستان‌های شهر تهران مورد پرسش قرار می‌گیرد. چرا پروژه‌ای در این مقیاس با وجود تأکید و توجه ویژه اسناد بالادست و مدیریت شهری با شکست مواجه می‌شود؟ چرا با وجود هدف احیاء و پیوند رودخانه با شهر و شهروندان، این پروژه نه تنها در جذب مخاطب ناموفق می‌باشد، بلکه خود به عاملی در نابودی هویت طبیعی و فرهنگی رودخانه کن تبدیل شده است؟ این نوشتار بر مبنای اسناد موجود و روند طی شده از تعریف، برنامه‌ریزی، طراحی و اجرا، به بررسی دلایل دور شدن پروژه بوستان جوانمردان از اهداف اولیه ساماندهی و احیاء‌ رودخانه‌ کن می‌پردازد. فاصله میان اهداف و راهبردهای بیان شده در برنامه ساماندهی ویژه روددره کن در طرح‌های موضعی-موضوعی طرح جامع ۱۳۸۵ و طرح ساماندهی رودخانه کن و پیرامون آن توسط مهندسین مشاور آرمانشهر تا سیاست‌گذاری و اقدامات صورت گرفته در مقیاس میانی و خرد توسط مهندسین مشاور آتک به عنوان طراح اصلی پروژه مورد بررسی قرار می‌گیرد. در نهایت عدم شناخت طراح از ارزش‌های طبیعی و منظرساز روددره کن را عامل مهم عدم توانایی طرح ارایه شده در پاسخ‌گویی به اهداف مورد نظر طرح جامع و شکست پروژه می‌داند.}, keywords_fa = {رودخانه‌ کن,بوستان جوانمردان,طرح ساماندهی رودخانه‌ کن,منظر طبیعی رود}, url = {http://www.manzar-sj.com/article_12775.html}, eprint = {http://www.manzar-sj.com/article_12775_1706fdd55e31007c7964d83baaed14a5.pdf} } @article { author = {Mansouri, Maryam Al-sadat and Assari, Minoo and Kashi Fard, Mahsa}, title = {Lighting or Illumination? Night Landscape of Bridge Tehran}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {7}, number = {31}, pages = {104-109}, year = {2015}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {Urban landscape is the resultant of images of the city that are perceived by the audience and querying about the quality of the city is considered and updated urban management debate. Aesthetic interventions in the urban landscape are the most common measures to improve the quality and lighting contributes to its significance. On the one hand, bridge lighting which is one of the core elements of the urban landscape is considered an aesthetic intervention. On the other hand, they are important due to their visibility from distances at different speeds especially at night and in terms of structure. In Tehran, different approaches toward bridge lighting have led to some upgrade or degrade of the quality of the urban landscape. Night landscape aesthetics of Tehran bridges are obtained through powerful sources of energy and there are distinct at night owing to the copious contrast to the dark context rather than having a vivid pattern; night landscape of Tehran bridges is not a coordinated procedure. In other words, these elements do not demonstrate a single entity, and they offer various personalities depending on the size or function each. Accordingly, aesthetic intervention in night landscape does not follow a standard credit and limited to single local intervention. Landscape of bridges that are functionally or visually linked to transportation, have been taken into deeper consideration rather than pedestrian bridges by urban managers: Pedestrian bridge with the lowest quantitative and qualitative lighting design are only limited to the minimum. Lighting of roadway bridges has been maximum quantitatively which affects the aesthetics of the night. Viewing bridges has similar lighting to roadway bridges in which the architecture and structure are determines of the lighting while the characteristics of the bridge should be the source of inspiration. This paper aims to investigate Tehran's bridge night lighting with a goal to discuss and evaluate aesthetic intervention quality in the approach adopted for bridge lighting in terms of landscape.}, keywords = {Night landscape,City bridges,Aesthetical interference,Tehran}, title_fa = {نورپردازی یا روشنایی؟ منظر شبانه پل‌های تهران}, abstract_fa = {منظر شهری، برآیند تصاویری از شهر است که مخاطب به‌ واسطه آن شهر را درک می‌کند و پرسش درخصوص کیفیت آن، از مباحث روز مدیریت شهری است. مداخلات زیباشناسانه از رایج‌ترین اقدامات در ارتقاء کیفیت منظر شهری محسوب می‌شود و نورپردازی، جایگاه مهمی در این امر برعهده دارد. از طرفی، نورپردازی پل‌ها که جزء عناصر اصلی منظر شهری هستند، از مداخلات مهم زیباشناسانه است که به‌دلیل قابل رؤیت بودن از فواصل مختلف در سرعت‌های متفاوت، نقش چشم‌گیری در ساختار منظر شبانه دارد.   در تهران، اتخاذ رویکردهای پراکنده در نورپردازی پل‌ها نتایج چندگانه‌ای را در پی داشته که بعضاً به ارتقاء یا تنزل کیفیت منظر شهری منجر شده است. این نوشتار، نورپردازی شبانه پل‌های تهران را با هدف بررسی کیفی مداخله زیباشناسانه در رویکردهای اتخاذ شده برای نورپردازی پل‌ها و با نگاهی منظرین مورد ارزیابی قرار می‌دهد.}, keywords_fa = {منظر شبانه,پل‌های شهری,مداخله زیباشناسانه,تهران}, url = {http://www.manzar-sj.com/article_12776.html}, eprint = {http://www.manzar-sj.com/article_12776_96686a5d533b017a1d6f26487ac641b4.pdf} } @article { author = {mokhles, farnoosh and Keramati, Ehsan and Nozari, Behnaz}, title = {Highway Landscape Evaluation of Two Highway Landscapes in Tehran}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {7}, number = {31}, pages = {110-115}, year = {2015}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {Highways as the outermost element of urban road network play a significant role in urban transportation and access. Therefore, the way of dealing with highway landscape design will improve the quality of urban landscape. Nowadays, there exist no landscape design criteria and provisions of the Highway and landscape and walls in Iran and the lack of upstream plans to monitor the quality of the design and implementation of a highway perspective has led to confusions in landscape. Ignoring the physical consistency of these elements and other urban as well as disregarding their landscape can generate problems ranging from environmental issues to social and urban ones while illegibility of highways is considered a serious challenge for citizens. Considering that the main users of the highway pass with a high speed, special attention should be given to speed factor in highway landscapes. All of the highway elements are coded and highway landscapes are not exempt from this problem. In this respect, identity and aesthetics of highway arise out of context and history of a city. Tehran highways are situated differently according to geographical and natural features. Landscapes that are displayed lack semantic relationship with the natural and historical values of the highway context and are mostly organized by green walls over the highway with fine vegetation, high-rise buildings and large concrete walls to provide security in high-speed lines. Selected landscape with aesthetic approach in Yadegar-e-Imam and Martyr Hemmat highways demonstrates how disregarding of meaningful, identifying and aesthetic elements of design has transformed the highways to a traffic body associated with the operation of transport and connections of different parts of the city. Uniformity and ornamenting approaches and interventions in the body of the highway, with fine vegetation and high costs have caused readability independent path routing from identifying elements and beauty is rather added than perceived. Removing garden, hills, river valleys and the current aqueducts in Tehran and geographical and natural landscapes in the context of highways and replacing them with personification decreases legibility and harmony with the context and history. Proper communication between the ecological, natural, historical and contextual structures with aesthetical purposes with new structures such as highways can be an effective factor in environmental development and the future landscape of the highway and its surrounding areas.  }, keywords = {Highway,Highway aesthetics,Yadegar-e-Imam Highway,Hemmat Highway}, title_fa = {منظر بزرگراه ارزیابی دو منظر بزرگراهی در تهران}, abstract_fa = {بزرگراه‌ها به عنوان بیرونی‌ترین عنصر شبکه راه‌های دورن شهری نقش مهمی را در جابجایی و دسترسی شهری ایفا می‌کنند. از این رو پرداختن به چگونگی طراحی منظر بزرگراه باعث ارتقای کیفیت منظر شهری می‌شود. امروزه در خصوص طراحی منظر بزرگراه‌ها و جداره‌های آن در ایران ضوابط و مقررات مدونی وجود ندارد و فقدان طرح‌های بالادست که بر کیفیت طراحی و اجرای منظر بزرگراهی نظارت داشته باشند، باعث بروز اغتشاش در منظر شده است. توجه نکردن به همخوانی کالبدی این عناصر با سایر عناصر شهری و نیز توجه نداشتن به منظر آنها می‌تواند مشکلاتی از انواع زیست محیطی، اجتماعی و شهری را پدید آورد و عدم خوانایی بزرگراه‌ها برای زندگی شهروندان چالشی جدی محسوب می‌شود. با توجه به اینکه کاربری اصلی بزرگراه عبور ماشین‌ با سرعت زیاد است باید در منظر آن‌ها به عامل سرعت توجه ویژه شود. عناصر اطراف بزرگراه به نوعی نشانه تبدیل می‌شوند. به موازات آن هویت و زیبایی‌شناسی بزرگراه‌ها مطرح می‌شوند و نقش نشانه‌ها در آن عمده می‌شود. مکان قرارگیری بزرگراه‌های تهران با توجه به بستر جغرافیایی و ویژگی‌های طبیعی آنها بسیار با هم تفاوت دارند. منظرهایی که در این مسیرها برای مخاطب به نمایش گذاشته شده، ارتباط معنایی با ارزش‌های طبیعی و تاریخی زمینه بزرگراه ندارند و در محدوده وسیعی، جداره‌های بزررگراه با درختان سبز، طرح کاشت ریزدانه، ساختمان‌های بلند مرتبه و دیواره‌های بتنی حجیم در راستای تأمین امینیت حرکت، ساماندهی شده‌اند. تحلیل منظر بزرگراه‌های یادگار امام و شهید همت با رویکرد زیبایی‌شناسی نشان می‌دهد آشفتگی در آنها به دلیل کم‌توجهی به فرایند معنابخشی و نبود برنامه‌ای جامع در طراحی جداره‌های بزرگراهی منطبق با تاریخ طبیعی و هویتی در برنامه‌ جامع شهر است.}, keywords_fa = {بزرگراه,زیبایی‌شناسی بزرگراه,بزرگراه یادگار امام,بزرگراه همت}, url = {http://www.manzar-sj.com/article_12777.html}, eprint = {http://www.manzar-sj.com/article_12777_b18c8b4a334d642f168ee0796fe7f0a3.pdf} } @article { author = {Mansouri, Seyed-Amir}, title = {Landscape Architecture in Tehran Today}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {7}, number = {31}, pages = {116-119}, year = {2015}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {Suffering from disorder and chaos, Tehran is a city capable of introduced as one of the most beautiful cities in the world for its historical and geographical capacities. Unfortunately, in the modern era and after the Islamic Revolution when urban development destiny started to depend on engineers due to their increasing authority in urban management, culture role was undermined and Tehran underlying capacity remained uncovered and urban development management and engineers, who played a role in legitimizing the city management authoritarian, managed the main urban trend in Tehran. While quantitative standards are highly improved in Tehran development, qualitative impairments are evident. Critics of senior officials of the Islamic Republic in Tehran and academics, professionals, intellectuals and the general public’s dissatisfaction of life quality has led to effective institutions in Tehran management, consisting of the Ministry of Roads and Urban Development, the provincial, city and municipal council of Tehran to choose similar slogans and methods for urban developments. Urban management approach was to develop new types of landscape architecture in the city and increasing communal spaces. However, if this approach is merely considered quantitatively and the qualitative aspects are considered as sub-elements decorative, we will witness a historic cultural rupture indicative of dissatisfaction in architecture and urban quality. Integration of the mentioned situation in cities of Iran and specially Tehran has created a specific landscape. Convinced that cultural developments, especially in hardware areas such as architecture and town, are quite gradual, municipal architectural management in Tehran requires the evaluation of the status quo. The most important results of 14 independent studies on landscape architecture projects of Tehran undergone by MANZAR journal are as follows: Lack of strategy: Most of the projects lacked a specific strategy for the typology of created public space; Strategies that lead the projects in terms of compatible development environment, pedestrians’ life extending, defining city milestones, displaying science and technology and preservation of the historical identity. Minor location: Most projects of Tehran landscape architecture endure minor locating independent of overall and contextual programs. Employer’s interference: selection of consultants and design leading is not a professional criterion. Economic preferences (tender) and consultant- employer relations (previous work experience) are the most important selection factors.   Unprofessional consultant: The professional teams in most cases lack the expertise due to two main reasons: first, direct employer’s or supervisors’ unconventional interference in the design process. Second: reliance on ratings of company instead of technically competent team of experts from the employer. Error repetition: Nearly in all cases, project and feedback evaluation after implementation had no role in the reform process of the project design. Unwisely, all designer and user communications were cut off after project implementation and the overall feedbacks of project and public interactions are not investigated.  }, keywords = {}, title_fa = {معماری منظر در تهران امروز}, abstract_fa = {}, keywords_fa = {معماری منظر,تهران}, url = {http://www.manzar-sj.com/article_12778.html}, eprint = {http://www.manzar-sj.com/article_12778_a0da62951507be6403a3a13ee9b7c8ba.pdf} }