@article { author = {Mansouri, Seyed-Amir}, title = {Introduction/ Iranian Landscape: Autumn}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {4}, number = {20}, pages = {5-5}, year = {2012}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {1. Iran gets a unique appearance in autumn. At certain points, Iran’s autumns has elements of both summer and winter. The days when autumn is at the summer point, the nature is green and vivid and on the days when the elements of winter are more felt, the nature is naked and cold. This is a clear manifestation of the Quranic verse that “Things are known by their opposites". Thus, autumns have a special meaning for those who ponder about the wonders of the Creation.          The variety of colors in the gardens of Iran during autumns shows that various trees have been planted in them - trees with different leaf colors and different color change periods. The landscape of Iranian gardens in autumns is based on the dictates of household economy and the tradition of gardening in the country. The gardens in fact have always played a pivotal role in supporting the economy of Iranian households across history. At the same time, the families that run on gardens have shown to have an inclination to invest in various fruits. Therefore, the garden owners usually plant apple, walnut, peach, and pomegranate trees to have a variety of fruits in their basket of family budget. This shows how intertwined the basis of Iran’s economic, social and cultural structures are. Iranian families have also shown to make both ends meet by trying to save costs as much as possible.  They have taken the same approach to modern city life.   The walls of the gardens in Iran which are specifically thick and huge as opposed to the small area of plantation are a basic element in the landscape of Iranian gardens. What may be mostly noticeable with regards to garden walls in Iran are the pieces of stones collected from the environment around and used as their building blocks, the mud put on them and the mass of long branches overlooking the walls.    The walls of gardens which Master “Pirniya” describes them as barriers against the invasion of the desert and “Rene Pecher” calls them the protectors and obstacles against the “evil eyes” of people have a triple role to play: the branches on their edges manifest safety, the stones of their feet which prevent the growth of weeds manifest protection and their height blocks the envious from seeing the blessings inside the garden.    Accordingly, the walls of gardens are considered as an element of climate, function and culture. In fact, the garden walls are the cultural response of the Iranian civilization to the above needs. Therefore, garden walls make up a significant part of Iranian landscape apart from other elements around the life of Iranians.    Ayda Alehashemi, in a beautiful picture of the landscape of Tar village, located near Natanz in central Iran, provides a comprehensive explanation of this definition of Iranian landscape which is the result of the interaction between man and environment and society with history.     2. The stand of Manzar and Bagh-e Nazar journals were picked as the best in Iran’s 19th  Press Festival that was held in October. Although the location of the stand was far from ideal, two symbols of Iranian landscape i.e. the water pool and Pelargonium flowers had been put up in the stand to make it attractive enough to become the favorite in the hall even though there were expensive halls by rich publishers in the festival.  Over 1,000 people stood beside the pool and took picture (www.nazaronline.ir).  This is not meant to be a boast. Rather, it is meant to call attention to the magnificence of symbols of Iranian landscape in the public opinion of Iranians.      }, keywords = {-}, title_fa = {درآمد / منظر ایرانی: پاییز، راوی اجتماع}, abstract_fa = {1. پاییز ایران یگانه است زیرا در جانب خود، تابستان و زمستانی را دارد که به کلی منظر دیگری دارند؛ تابستان، سبز و خرم و زمستان، عریان و سوزنده. به مصداق "تعرف الاشیاء باضدادها" پاییز، هویتی ویژه می‌یابد که با اهل نظر حکایت‌های بسیار می‌کند. گوناگونی رنگ‌ها در باغ خزان‌کرده حکایت از کاشت متنوع درختان مثمر دارد؛ درختانی که رنگ و دوره خزان آنها با یکدیگر متفاوت است. این منظره، برآمده از اقتصاد و سنت باغداری ایرانیان، از آن حکایت می‌کند که باغ به عنوان سازمانی اقتصادی، نیازهای مختلف خانواده را تأمین می‌کند، کشت تک‌محصولی هنوز رواج ندارد و اقتصاد شهر بر مدار خودکفایی حداکثری خانوارها استوار است. از این رو صاحب این باغ برای خود از درختان سیب، گردو، هلو، انار و... هریک چند نهال می‌کارد تا نیازهای خانواده‌اش را تأمین کند. این دانایی، از چگونگی ساختارهای اقتصادی، اجتماعی و فرهنگی جامعه حکایت دارد. حصار باغ، که در برابر وسعت کم آن بسیار ستبر و گران‌قیمت می‌نماید، عنصری جدی و اساسی در این منظر است که با سنگ‌هایی به رنگ محیط، اندود گل و شاخه‌های متراکم و تیز بسیار خودنمایی می‌کند. دیوار باغ که استاد «پیرنیا» حافظ آن می‌داند در برابر هجوم بیابان و رنه په شه (Rene Pecher) به عنوان ساتر باغ و مانع چشم‌زخم اغیار، در اینجا نقشی سه‌گانه دارد؛ شاخه‌های لبة آن از نقش امنیتی سنگ‌های پای آن، که سدی در برابر هجوم علف‌ها هستند از نقش حفاظتی، و بلندی آن از نقش معنایی آن، که مانع رشک حسودان بیرون به نعمتهای درون است، حکایت می‌کند. بدین ترتیب، دیوار باغ عنصری اقلیمی، کارکردی و فرهنگی شمرده می‌شود؛ و پاسخ فرهنگ ایران است به نیازهای سه‌گانه مذکور. از این رو در کنار سایر عناصر محیط زندگی ایرانیان، بخشی از منظر ایرانی را می‌سازد. «آیدا آل هاشمی» در شکار زیبای خود از منظر روستای «طار» در نزدیکی «نطنز»، نمونه‌ای کامل از این تعریف منظر، که محصول تعامل انسان با محیط و جامعه با تاریخ است را به نمایش می‌گذارد. 2. در نوزدهمین جشنواره مطبوعات ایران که آبان‌ماه 91 در تهران برگزار شد، غرفه مجله منظر و باغ نظر به عنوان برترین غرفه انتخاب شد. اگرچه محل غرفه در بدترین نقطه نمایشگاه تخصیص داده شده بود، اما استفاده از دو نماد منظر ایرانی شامل حوض آب و گلدان‌های شمعدانی توانست این مقام را برای بچه‌های پژوهشکده، که زحمت زیادی برای برپایی نمایشگاه متحمل شدند، به ارمغان آورد. بیش از یک هزار نفر در کنار آن حوض ایستادند و عکس یادگاری گرفتند (www.nazaronline.ir). غرض، بیان این رویداد نیست، بلکه توجه دادن به قدرت و جذابیت نمادهای منظر ایرانی در خاطره جمعی و زیبایی‌شناسی ایرانیان است که در میان طرح‌های پرخرج ناشرین ثروتمند این طرح ساده و کوچک، با اقبالی عمومی به عنوان زیباترین برگزیده شد.}, keywords_fa = {-}, url = {http://www.manzar-sj.com/article_2225.html}, eprint = {http://www.manzar-sj.com/article_2225_f896581347addbb81bc6da11881a8d81.pdf} } @article { author = {Mehrabani Golzar, Mohammad Reza}, title = {Landscape Interpretation, an Approach to Decipher Secrets of Ancient Structures; Discovering spatial structure and landscape features of Pasargad Complex}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {4}, number = {20}, pages = {6-11}, year = {2012}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {Iran’s anctient Pasargad site may appear in first look as a chain of individual structures that are overlooking a plain with no tangible relation between those structures. It may be to the same effect difficult to realize why Pasargard was ever built in its current location. Those who visit this site today may not be able to obtain an understanding about what the architects of Pasargad were thiking about when they decided to build it. But is this the whole story? Was Pasargard like its current shape during the era of the Achamenids who had picked it as their throne and the religious center of their empire? What is the relation between the structures of this site that had found a special position during the eign of Cyrus the Great?    On the other hand, many consider Pasargad as the first example of a Persian garden. It is generally believed that Pasargad later inspired the construction of Persian gardens.  But how was the Pasargad garden? Was it based on geometric designs or was it an organic garden in which no particular pattern could be found?   The present research is based on the assumption that Pasargad was based on a perfectly measured blueprint as indicated in historical documents. Another aspect of the assumption is that Pasargad comprised a garden in which all elements of Persian garden existed. The present research further assumes that there is a tangible relation between different structures of Pasargad and the whole site is based on a unified geometric design.    In order to better identify the potential pattern dominating the construction of Pasargad site, the present research looks at the details of Pasargad architectural layout from three different perspectives.  First, the research will try to prove the existence of an order between the structural elements of Pasargad through archeological findings. Next, the existence of a garden and geometrical designs is proved by drawing referencs to historical texts about Pasargad.  And finally, there will be an analysis of the structural elements and their relation to each other from the viewpoint of landscape. It is expected that the results of these three stages would provide a clear understanding of Pasargad spatial structures.         The purpose of analyzing the landscape features of a historical site is to identify the links between the visual elements and their functions in a way that the original format and shape of the site becomes clear particularly those which have to a large degree withered over time.  This analysis can as useful as the archeological excavations and historical texts in understanding the details of an ancient structure. Besides, the dominant viewpoint in the discipline of archeology is detailed and very conservative whereas the discipline of landscape analyzes the facts through a holistic and aggressive approach. Therefore, once these two are put together, there will be a more precise analysis of historical sites.With regards to the analysis of Pasargad site from the viewpoint of landscape, one must look for the reasons for the positioning of different structures and the relevance of their landscapes to the structures. It is common knowledge that axis has a key role in Persian gardens as has already been seen in many historical sites.  Also, the structures in historical sites in Iran are based on symmetrical patterns.Therefore, the following points can be concluded with regards to Pasargad site:  The connection between the tomb of Cyrus the Great with the Royal Garden and the entrance that overlooks the main avenue in the Garden was carefully designed and the arrangement of this connection is not accidental.   The pathways that originate from Gate R, the tomb of Cambysis and Palace A and fall on the main avenue have similar features in terms of construction technicalities.  The recurrence of those similarities leads to the tomb of Cyrus. The distance between the tomb which is believed to host Camysis to the main avenue is exactly the same as the distance between Gate R and the avenue. This means that there are two synchronical pathways to the avenue in the Royal Garden.   A look at the patterns of the pathways and their relations to each other helps clarify the spatial structure of Pasargad complex. The arrangements of none of the above cases can be considered as accidental.   Therefore, an analysis of the historical documents and archeological findings from the viewpoint of landscape shows that all the structures in Pasargad complex were constructed based on a well-organized spatial design and a large garden overlooked all of the structures. The Royal Garden was only a part of this massive complex. In other words, Pasargad comprised a combination of gardens. Apart from these, nothing specific can be decalred with regards to other architectural features of Pasargad by relying on the existing documents and any conclusion to that effect remains at the level of speculation.This has further highlighted the need for conducting more researches over this ancient heritage. In fact, more efforts like those taken up by the French group led by Remy Boucharlat are needed to shed light on the unknown dimensions of this historical site.}, keywords = {Pasargadae gardens,Royal garden,Landscape interpretation,spatial structure,Geometrical order}, title_fa = {تفسیر منظرین: رمزگشایی از محوطه‌های تاریخی؛ کشف ساختار فضایی و منظرین مجموعه پاسارگاد}, abstract_fa = {پاسارگاد در نگاه اول، دشتی است که چند بنای منفرد را در خود جای داده است بدون آنکه ارتباط معناداری با یکدیگر داشته باشند؛ آثار بناهایی پراکنده در دشت که به سختی می‌توان علت مکان‌یابی و احداث آنها را حدس زد. بازدیدکنندگان با دیدن وضعیت امروزی آن، هیچ تصوری از گذشته آن به دست نمی‌آورند. آیا این همه ماجراست؟ آیا در زمان هخامنشیان نیز پاسارگاد به عنوان مقر حکومتی_‌ آیینی کورش به همین شکل بوده است؟ این بناها چه نسبتی با یکدیگر دارند؟ از سوی دیگر، امروزه پوهشگران پاسارگاد را به عنوان اولین باغ ایرانی و الگوی باغ‌های پسین می‌دانند اما پرسش اینجاست این باغ چگونه بوده است؟ آیا باغی هندسی و منظم بوده یا یک باغ ارگانیک و نامنظم؟ تحلیل‌های منظرین با تکیه بر اسناد تاریخی و باستان‌شناسی با حاکی از آن است که کلیه بناهای دشت پاسارگاد در یک ساختار منظم فضایی احداث شده‌اند و باغی وسیع بر کلیه عناصر احاطه داشته است. «باغ شاهی» تنها بخش کوچکی از این مجموعه وسیع بوده و به بیان دیگر در پاسارگاد با یک طرح «باغ در باغ» روبه‌رو هستیم. این نوشتار پس از تحلیل مجموعه پاسارگاد براساس اسناد تاریخی (متون تاریخی و یافته‌های باستان‌شناسی) از منظر سومی که «رویکرد منظر» است به بررسی این مجموعه می‌پردازد و با توجه به سبک باغسازی ایرانی، سعی در واکاوی و کشف ساختار فضایی و منظرین مجموعه باغ‌های پاسارگاد دارد.}, keywords_fa = {باغ‌های پاسارگاد,باغ شاهی,تفسیر منظرین,ساختار فضایی,نظم هندسی}, url = {http://www.manzar-sj.com/article_2226.html}, eprint = {http://www.manzar-sj.com/article_2226_a58943e87952bac3072d52834367a6cf.pdf} } @article { author = {Bohn, Katrin and Viljoen, André}, title = {CPUL: Continuous Productive Urban Landscape; New Approach to integrating agriculture and urban}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {4}, number = {20}, pages = {12-17}, year = {2012}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {This paper focuses on urban agriculture as one of the major components of CPUL (Continuous Productive Urban Landscape). CPUL CITY concept can make urban space more productive for the city and more desirable for its citizens and describes our vision for an urban future based on the planful physical, social and managerial introduction of continuous productive urban landscapes (CPUL) including urban agriculture into existing and emerging cities.. The goal is to improve qualities of life. The CPUL City concept proposes that urban agriculture can contribute to more sustainable and resilient food systems while also adding beneficially to the spatial quality of the urban realm. It is an environmental design strategy and provides a strategic framework for the theoretical and practical exploration of ways to implement such landscapes within contemporary urban design.   Designing a CPUL means to create a qualitative urban landscape which, above all, thrieves to incorporate the growing of local and organic food. A systemic approach needs to be taken to integrate the physical CPUL / CPUL space into existing or new to establish local managerial systems, i.e. a stakeholder network and/or waste recycling and/or a water system. The CPUL City concept recognises that each city and each site will present a unique set of conditions and competing pressures informing the final shape and extent of its productive landscapes. Today, the CPUL City concept is complimented by other urban design concepts for integrating urban agriculture into contemporary Western cities. Often these start from an interest different to CPUL and result in a different set of proposals, but all have began to explore the design possibilities of growing food within the urban realm.   Finally the paper concludes that, while urban agriculture is receiving a great deal of attention, the theory underpinning the design of productive landscapes and the rationale for developing policy to support its practice will require sophisticated cross-disciplinary work to articulate the full potential of concepts such as CPUL in making essential infrastructure within future sustainable cities. Concepts like Continuous Productive Urban Landscape (CPUL) and CPUL City provide design strategies capable of giving spatial and organisational coherence to the infrastructural and qualitative aspects of urban agriculture.   The paper documents the growing interest in productive landscape and the CPUL concept within the fields of architecture and urbanism. To translate this interest into practice will require further cross-disciplinary work. The design, planning, landscape, horticultural and retail professions will need to relearn old and develop new skills to support, in particular, the practice of urban agriculture. If urban agriculture is to be widely adopted, its functions, in addition to environmental sustainability, such as providing urban ornament, require articulation. If the economic and social infrastructure can be put in place to support it, we could build something far more abundant and significant than that envisaged by a romantic notion of “growing your own”. Urban agriculture might then answer the fundamental question about our urban future by offering more experience with less consumption.}, keywords = {CPUL,Productive landscapes,Sustainable urban design,Urban agriculture}, title_fa = {CPUL، منظر شهری همیشه مثمر؛ رویکردی نوین به تلفیق زراعت و شهر}, abstract_fa = {اگرچه مفهوم منظر شهری همیشه مثمر بر روی الگوی شهری اروپایی متمرکز است، اما براساس یک تجربه بین‌المللی شکل گرفته و دستاوردهای آن قابل قیاس و نیز سازگار با دیگر الگوهای شهری است. این منظر با ارایه راهکاری منسجم به، زیربنای پایداری شهری جدید را خلق کرده و به بازتعریف کاربرد فضاهای باز شهری می‌پردازد. مقاله حاضر کشاورزی شهری را به عنوان یکی از اصلی‌ترین مؤلفه‌های منظر شهری پایا مورد توجه قرار داده و به بررسی نقش منظر حاصلخیز در بستر طراحی منظر شهری همیشه مثمر می‌پردازد. امروز نمایشگاه‌های بین‌المللی و انتشارات‌ زیادی این موضوع را مورد توجه قرار داده‌اند. همچنین این مقاله تغییر قابل توجه کشاورزی شهری را از یک موضوع حاشیه‌ای به موضوعی اصلی در معماری و شهرسازی معاصر دنبال می‌کند. این نوشتار اذعان می‌کند توجه کافی به کشاورزی شهری باعث می‌شود طراحی منظر حاصلخیز اساس سیاست‌های توسعه پایه‌ریزی شود که حمایت از فعالیت‌های آن نیازمند اقدامات انتظامی، ضربتی و ماهرانه‌ای است تا بتواند از تمامی پتانسیل‌های کانسپت‌هایی منظر شهری همیشه مثمر برای ساختن زیربنای ضروری درون شهرهای پایدار آینده به درستی استفاده کند.}, keywords_fa = {CPUL,منظر شهری همیشه مثمر,منظر حاصلخیز,طراحی شهری پایدار,کشاورزی شهری}, url = {http://www.manzar-sj.com/article_2227.html}, eprint = {http://www.manzar-sj.com/article_2227_29658e7f9f52b8b72e51090501554d8b.pdf} } @article { author = {Sheibani, Mahdi and Chamanara, Sanaz}, title = {Productive Urban Network; A Strategy for Achieving Sustainable Development}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {4}, number = {20}, pages = {18-23}, year = {2012}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {It’s a long time that accomplishment of sustainability is one of the most prominent concerns in the fields of human knowledge. Regarding this matter, in case the specialized strategies of urban planning and design don’t consider the concept of sustainability and its aspects, they will not make any sense in the time of population increasing pressures on natural renewable or non renewable sources and ecology processes and the process of global warming. Therefore, in this research, the subject of “sustainable urban landscapes” with multi-functional and qualitative features will be considered to achieve sustainability. In this case, it seems that in development process of the concept of qualitative urban landscape, the restoration of productive myth to urban landscape in form of “new green infrastructures for developing cities” can lead to reviving these cities. Productive urban landscape is one of the bases of accessing sustainable urban development. The main question in this research is “The presence and incorporation of productive plants in open public places of the city and their role in urban sustainability”. With respect to the current strategies which is related to the subject of this research, it seems that the presence of productive plants in the city as a factor of development of cities is the respond of caused challenges for the future metropolitans. “Urban landscapenetwork with productive plants” is an integrated policy to link the productive plants and cities based on the creation of a new urban infrastructure and supporting redefinition of urban open space performance by the key factor of “urban agriculture and gardening." The scale of productive plants presence include a wide scope of suburban areas and recycled realms, urban parks, urban corridors, facades and roofs (the fifth façade), private and collaborative gardens, small courtyards of residential, window sides and terraces.This will lead to be recognition of agriculture in addition to the urban beautification in every scale. In order to accomplish productive urban networks the establishment of urban landscape network with productive plants and generating ecological design for sustainable life and cycling metabolism should be revised simultaneously. A successful productive network in the city will be achieved through practicing sustainable agricultural methods and using cycling mechanisms.Thus, this study discusses two cities of Havana in Cuba and Casablanca in Morocco as successful case studies of productive landscape in developing countries according to subject tendency and sustainability concerns. Furthermore the necessity for the presence of productive plants in Tehran is studied and it is concluded that “the presence of productive plants in urban open spaces”is not a factor that integrates urban development and climatic issues and it is not the priority in designing cities. Its aim is "to add new green infrastructure to existing cities".Restoring water infrastructures as well as establishment of a productive network in can add liveliness to Tehran city and lead to re-establishment of a communication between residents and the natural flows and processes.}, keywords = {Sustainability,Multi-functional landscape,Productive urban network,Urban agriculture and gardening}, title_fa = {شبکه مثمر شهری؛ راهکاری برای دستیابی به توسعه پایدار}, abstract_fa = {سال‌هاست که تحقق آرمان پایداری یکی از مهم‌ترین دغدغه‌های بسیاری از حوزه‌های دانش بشری به‌شمار می‌رود. در همین راستا چنانکه رویکردهای تخصصی برنامه‌ریزی و طراحی شهری به مفهوم پایداری و جنبه‌های آن بی‌توجه باشد، در زمان فشارهای فزاینده جمعیتی بر منابع طبیعی تجدیدپذیر یا تجدیدناپذیر و فرآیندهای بوم‌شناسی و روند گرم‌شدن محیط زمین از معنای چندانی برخوردار نخواهد بود. بر این اساس در این پژوهش، موضوع "مناظر شهری پایدار" با ویژگی‌های چندعملکردی و کیفیت‌گرا، در نیل به پایداری مد نظر قرار می‌گیرد. در روند توسعه مفهوم منظر شهری کیفیت‌گرا به نظر می‌رسد بازگرداندن اسطوره ثمردهی به منظر شهری با "افزودن زیرساخت‌های سبز جدید به شهر‌های در حال توسعه" منجر به حیات و پویایی شهرها شود. ثمردهی به عنوان یکی از زمینه‌های دستیابی به توسعه پایدار شهرهاتداعی‌کننده طراحی فضاهای باز شهری به عنوان سیستم فضاهای باز چندمنظورهاست. پرسش اصلی در این پژوهش، "چرایی حضور و تلفیق گیاهان مثمر در بستر فضاهای باز عمومی شهری و نقش آنها در توسعه پایدار شهرها" است. به نظر می‌رسد با توجه به رویکردهای کنونی موجود در ارتباط با موضوع این پژوهش، حضور گیاهان مثمر در شهر به عنوان عامل یکپارچه‌ساز توسعه شهرها، پاسخی به چالش‌های به وجود آمده در رابطه با شهر‌های بزرگ فردا خواهد بود. روش کار بر مطالعه اسناد و دیدگاه‌های نوین در توسعه کیفی فضاهای باز شهری استوار است. براساس هدف تعیین شده، شهرهای موفق به عنوان نمونه موردی در امر تلفیق مناظر شهری و مناظر روستایی بررسی می‌شوند، تا بدین ترتیب بتوان به مبنایی کاربردی در ایجاد منظر مثمر شهر تهران دست یافت.}, keywords_fa = {پایداری,منظر چندمنظوره,شبکه مثمر شهری,کشاورزی و باغداری شهری}, url = {http://www.manzar-sj.com/article_2228.html}, eprint = {http://www.manzar-sj.com/article_2228_a23fdb58d23c78fdf76c902b60fc0507.pdf} } @article { author = {Bennour Azooz, Maryam and Donadieu, Pierre}, title = {The tree in Tunis; Assumptions for the Concept of Public Space}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {4}, number = {20}, pages = {24-29}, year = {2012}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {Before the arrival of colonialism in 1881, Tunisia was based mainly on the agriculture. Despite the early settlement of the nomadic population, major urban centers, with the exception of the capital, Tunis, were almost rare.  Tunisian towns that were built by the style of Moroccan Arabic cities were simultaneously known as the religious, political, economical (and especially commercial) center of the country and they were under the command of the Bey. The city could be opened to the main directions and join the widespread cultivation of citrus and olive plantations. At the time, Agriculture and Business were the foundation of life for the city. In this case, the Tunisian residents had practical and economical experiences from the trees. In this paper, the transformation of the concept of public space since the pre-colonial period (late 19th century) to the present time in Tunisia is followed with a focus on significant times of history. Therefore, it tries to discuss the relationship of trees and the city in these special times; from the time when it was a part of private space ( the time where there were no public spaces), to the time when it carried a new function in common spaces and displayed a new relationship between the citizens and public spaces in the colonial period. The colonialism changed the public opinion about public spaces. Before tree colonialism; this natural element was absent in the traditional culture of public spaces and the commercial and religious activities were predominant in these spaces. There was a different relationship between a person and a tree in the private space of a traditional Tunisian house. This semi-hidden and simple relationship which was also known as a public (common) imagination of citizens was pretty worthy. The public space only had meaning in religious buildings such as mosques and schools. No tree was seen in public spaces because these spaces were allocated to religious and commercial (market) activities. Trees were located in houses especially in patios to offer a relaxing space. In this case, not only the functional aspect (beauty, freshness, fragrance, fruit) were considered, but also they reminded a paradise in Islamic tradition. Increasing of trees in Europeanized city began during French colonialism by relying on the concept of public space and its role in the structure of urban spaces. That resulted in organized cities with linear roads, streets and squares full of planted trees and open spaces, which were appropriate for impeding diseases such as cholera and plague, unaware of traditional central cities. The new decorative function of trees in new urban spaces and their network structures (streets) was the new policy of colonialism for companying the traditional culture of public spaces in Tunis with the concept of public space required for rapid communication, readability and interaction. Since the officials believed that the modern form of the city did not conflict their demands, there were a little change in the urban structure of colonial period after the independence of Tunisia. As a result, no basic changes were made in spatial organization neither of the city nor in the exterior spaces of Europeanized city. The migration of the rural population to urban spaces was noticeable since 1970. Consequently, the officials began to build new urban spaces and two main interventions were conducted in the North and West sides of the city. Tunis City has been constantly developing mostly in northern and south northern regions since 1980. New neighborhoods almost had the qualities of the adjacent neighborhoods as the northern developments included rich neighbors and west developments were allocated to poor ones. The northern part of the city continued developing in form of villas, buildings and other forms of housing. Therefore, after Tunisia’s independence, the «Europeanized» city development was mainly focused on the concepts of public space which were planned in future urban organization in colonial period. The consequent was a duality in the concept of space; a treeless traditional city and a functional, beautiful and useful public space with plenty of trees which reminds the colonial period.}, keywords = {Tunis,The concept of public space,tree,Europeanized city}, title_fa = {درخت در شهر تونس؛ فرضیه‌هایی از مفهوم فضای جمعی}, abstract_fa = {تا قبل از ورود استعمار در سال ۱۸۸۱، کشور تونس اساساً بر کشاورزی استوار بود. علی‌رغم یکجانشین شدن زودهنگام جمعیت کوچ‌نشین، مراکز شهری نسبتاً مهم، به استثنای پایتخت یعنی شهر تونس، نادر بودند. شهر تونس که با الگوی شهرهای عربی سرزمین‌های مغربی ساخته شده بود، همزمان مرکز مذهبی، سیاسی و اقتصادی (خصوصاً تجاری) کشور به شمار می‌آمد و تحت فرمان «بی»1بود. شهر از طریق دروازه‌ها به جهات اصلی گشوده می‌شد و ارتباط آن را با مزارع وسیع کشت مرکبات و زیتون نیز برقرار می‌کرد. در آن زمان کشاورزی و تجارت بنیان زندگی شهروندان بود. به این صورت، ساکنان شهر تونس تجربه عملی و اقتصادی ویژه‌ای از درختان داشتند. در مقابل، این عنصر طبیعی در فرهنگ سنتی فضای جمعی غیبت کامل داشت و تسلط فعالیت‌های اقتصادی و مذهبی در این فضا دیده می‌شد. در فضای خصوصی خانه شهروند تونسی، پیش از دوران استعمار، ارتباط متفاوتی با درخت برقرار بود. این رابطه هرچند نیمه پنهان و ساده اما از آنجایی که یکی از اجزای تخیل جمعی (مشترک) شهروندان به شمار می‌آمد، از اهمیت خاصی برخوردار بود. با استعمار، الگوی شهر مستعمره فرانسه، با نوع جدیدی از ارزش‌های زیباشناسانه و اقتصادی روبرو شد که با رویکردهای «مدینه2» در تضاد بود. آنچه در ادامه خواهد آمد بررسی تحول مفهوم فضای جمعی در شهر تونس در دوران پیش از استعمار (اواخر قرن ۱۹) تا امروز با تکیه بر زمان‌های کلیدی روند تحول است. از این رو، برآن شدیم تا ارتباط درخت با شهر را در این زمان‌ها بررسی کنیم؛ آنجاکه درختی که ابتدا عنصر فضاهای خصوصی بود (آن زمان که فضای جمعی بسیار محدود بود)، تا جایی که این عنصر طبیعی با آغاز دوران استعمار، تحمیل کاربری‌های جدیدی را در فضای مشترک برخود دید و به شهروندان تصور و رابطه جدیدی را از فضای جمعی ارایه داد. استعمار با تغییر نگاه شهروندان موجب تحول عمیقی در مفهوم فضای جمعی شد.}, keywords_fa = {تونس,مفهوم فضای جمعی,درخت,شهر اروپایی شده}, url = {http://www.manzar-sj.com/article_2229.html}, eprint = {http://www.manzar-sj.com/article_2229_69442cc902cd0c0c42a053ab191eb646.pdf} } @article { author = {Shirazi, Zohreh}, title = {The Symphony of Iran and China in Garden}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {4}, number = {20}, pages = {30-31}, year = {2012}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {}, keywords = {}, title_fa = {فرخ صبوری : سمفونی ایران و چین در باغ}, abstract_fa = {}, keywords_fa = {}, url = {http://www.manzar-sj.com/article_2230.html}, eprint = {http://www.manzar-sj.com/article_2230_573e219db782e6a099bc735d535fd008.pdf} } @article { author = {Miniature Sajadi, Arman}, title = {Cultural Landscape Restoration}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {4}, number = {20}, pages = {32-32}, year = {2012}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {“Ratish Nanda” Projects director, Aga Khan Trust for Culture in India and Afghanistan, expressed his experiences in culturallandscape restoration of Babur Gardens in the 7th workshop of new theories in 19, September 2012.}, keywords = {}, title_fa = {راتیش ناندا : بازآفرینی منظر فرهنگی}, abstract_fa = {}, keywords_fa = {}, url = {http://www.manzar-sj.com/article_2231.html}, eprint = {http://www.manzar-sj.com/article_2231_8436293c547f7ca851806924be52b63a.pdf} } @article { author = {Kavakebi, Cima}, title = {Monotheism and Hinduism}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {4}, number = {20}, pages = {33-33}, year = {2012}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {Multiplicity of gods and their abundant presence in temples, houses and streets, is quite fascinating in India. Are Hindus acquainted with monotheism or do they believe in the existence of a single divine creator? This was the issue which was discussed by Dr. Farzaneh Azam Lotfi in 21st of October 2012 at Hinduism workshop.}, keywords = {}, title_fa = {فرزانه اعظم لطفی : توحید و هندوئیسم}, abstract_fa = {}, keywords_fa = {}, url = {http://www.manzar-sj.com/article_2232.html}, eprint = {http://www.manzar-sj.com/article_2232_204bcea4b97aa4537457202e1aa59068.pdf} } @article { author = {Mansouri, Seyed-Amir}, title = {Strategies for management of urban facades}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {4}, number = {20}, pages = {34-39}, year = {2012}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {}, keywords = {}, title_fa = {راهبردهایی برای مدیریت نماهای شهری}, abstract_fa = {}, keywords_fa = {}, url = {http://www.manzar-sj.com/article_2245.html}, eprint = {http://www.manzar-sj.com/article_2245_d2ba292700873d9afc243aac7f568d44.pdf} } @article { author = {Khaliji, Keivan}, title = {The impact of integration policy on urban landscape}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {4}, number = {20}, pages = {40-43}, year = {2012}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {The experts of city scopes affiliate the current city landscape with different social, cultural, political, economical, natural, climatic and ecological factors. These factors affect city landscape indirectly, while administrative policies and regulations of urban management which are mostly declared as principals and rules affect and transform city landscape directly and rapidly. One of the administrative regulations and policies is integration which affects the city landscape due to urban morphology.   The rapid growth of migration to Tehran in 40s and unplanned development has lead to new condition in morphology of Tehran. Agricultural and arid land division in the suburban areas has created a fine fabric in most parts of the city and has lead to further horizontal developments. This issue was discussed in proceeding decades after the increase of population (demand growth) and emersion of obstacle in Tehran development (lack of infrastructure and urban facilities). Therefore, infill development became a challenge in urban management. As a result, integration was used and applied widely due to integration challenge as the main devices in urban development management. Different rules, incentives, and many great activities of the Congress, state and municipal made the integration policy a dominant behavior in the construction of fine fabrics. But the question is can this policy be Accountable for all aspects of city development? Or it is just trying to meet housing needs and improve the quality of housing? How had integration policies and rules improved living quality in cities?  Has the urban landscape ever been concerned with the laws and policies? Urban integration with various incentives, special rules and diverse guidelines was promoted in Tehran in as a policy to improve fine fabrics and increase their constructions. This device offers unique capabilities to improve urban landscape quality in large-scale, it can also improve urban legibility as well. Preparation and adoption of standards and guidelines convey the developments towards this goal can improve the quality of urban city landscape. So this is an effective device in micro level functionality, rather than a macro level in case design rules substantially change the urban landscape and create legibility. This paper tries to explain that in spite of promoting integration policies for achieving land reproduction, this device doesn’t provide a good quality in city landscape. Therefore, the reasons for promoting integration rules will be explained and the causes of inefficiency in the urban landscape will be discussed while the role of integration in urban development policies is explained.}, keywords = {Integration,Fine land division,City landscape,Fabric form,Fragment}, title_fa = {تأثیر سیاست تجمیع بر سیمای شهر}, abstract_fa = {صاحب‌نظران حوزه شهر، شکل‌گیری سیمای کنونی شهرها را معلول تأثیرگذاری غیرمستقیم عوامل گوناگون اجتماعی، فرهنگی، سیاسی، اقتصادی، طبیعی، اقلیمی و زیست محیطی دانسته‌اند. این در حالی که قوانین، مقررات و سیاست‌های اجرایی مدیریت  شهری که عموماً در قالب دستورالعمل‌ها و ضوابط نمود پیدا می‌کند به صورت مستقیم و با سرعت بیشتری سیمای شهرها را شکل داده و تغییر می‌دهند. یکی از این ضوابط و سیاست‌های اجرایی تجمیع1 است که با تغییر ریخت شهری بر سیمای شهر تأثیر گذارده است. رشد سریع مهاجرت به تهران در دهه 40 و توسعه بدون برنامه، شرایط جدیدی را در ریخت شناسی شهر تهران رقم زد. تفکیک خرد زمین‌های زراعی و بایر که در حاشیه شهرها قرار می‌گرفتند، بافت‌های ریز دانه را در جای جای این شهر تولید کرد و منجر به توسعه افقی بیش از اندازه شهر شد. این مسئله در دهه‌های بعد با افزایش بیشتر جمعیت شهر (رشد تقاضا) و موانع توسعه شهر تهران (کمبود زیرساخت‌ها و تأسیسات شهری) و لزوم توجه به توسعه درون‌زا به عنوان یکی از چالش‌های مدیریت شهری مطرح شد. در برابر این چالش بود که تجمیع به عنوان یکی از ابزارهای اصلی مدیریت توسعه زمین‌های شهری به طور وسیع توصیه و به کار گرفته شد. قوانین مختلف، مشوق‌های فراوان و فعالیت‌های گسترده‌ای توسط مجلس، دولت و شهرداری‌ها به منظور تبدیل سیاست تجمیع به رفتار غالب در ساخت و ساز بافت‌های ریزدانه مطرح شد. اما سؤال اینجاست آیا این سیاست، جوابگوی تمام ابعاد توسعه شهرهاست؟ یا تنها به دنبال پاسخگویی به نیاز مسکن و افزایش کیفیت منزل مسکونی است؟ سیاست‌ها و قوانین ترغیب کننده تجمیع تا چه اندازه به کیفیت محیط زندگی در  شهرها پرداخته است؟ آیا مسئله سیمای شهری هیچ‌گاه به عنوان دغدغه این قوانین و سیاست‌ها مورد توجه بوده است؟ در این راه ابتدا دلایل ترویج ابزار تجمیع تبیین و سپس ضمن تشریح جایگاه تجمیع در سیاست‌های توسعه شهری به بررسی دلایل عدم کارایی آن در حوزه سیمای شهری پرداخته خواهد شد.}, keywords_fa = {تجمیع,پلاک‌های ریزدانه,سیمای شهر,فرم بافت,قطعه}, url = {http://www.manzar-sj.com/article_2233.html}, eprint = {http://www.manzar-sj.com/article_2233_ff16a25a2fe3ecd5f55eae5c2f90164b.pdf} } @article { author = {Radaee, Sara and Ghayem Amani, Narges}, title = {Today’s Life, the Lost Element in China’s Urban Development; From Ancient Urban Decorations to 21st Century Fancy Landscapes}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {4}, number = {20}, pages = {44-49}, year = {2012}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {As the economic growth is accelerated in China, the growth rate has been increased four times as much as this past rate during the first two decades of the 21st century and as the trend of globalization grows, the accomplishment of several large developmental programs is also expected. Beijing and Shanghai are among the cities that have experienced globalization earlier than other cities of China by their extended economy and communication in the world. In this rapid growth, there are two rather radical approaches to the developmental programs of cities in China. Sometimes wider boulevards, towers, facilities and international approaches take the place of approaches that refers to East and China and sometimes the historic approaches are the basis of development, however, they both reflect the image of China in the 21st century. Most of the latest projects in China originate from cheap and shallow imitation of historic architecture or the fascination of international styles which have eventually resulted in loss of present history in trading and historic cities such as Shanghai and Beijing. The examples of the latest urban development are Beijing Qianmen and Shanghai Pudong regions where these dominant approaches have results in different shaping as well as completely opposite impression on people. The issue of no personal property rights has totally transformed the appearance of Shanghai as a trading city and one of the three economic powers of the world and Beijing as a historic city for tourism and one of the oldest capitals of the the world. Beijing Municipal Administration adopted a historical approach in Qianmen restructuring plan due to historic background and tourism, therefore the Streets are brought back to their commercial glory of the Ming and Qing period according to the aesthetics of the period. However, the globalization in Shanghai followed “high-tech building industry” and combined the concepts of international development and regional features. The latest historic buildings of Qianmen were ruined and imitated elements and facades took over the place. After the renewal, the street gained a new appearance which did not remind or resemble any other street. However the Pudong experience with its placeless towers made the area looked alike everywhere else in the world. Unlike the human scaled towers of Qianmn, the tall towers of Pudong, created a development of space based on the originality of vehicle transfer and transformed the longstanding tradition in China.  Diversity of colors and integrity of repeated elements (furniture and height) is prevailing in Qianmen (dictatoring façade) while a varied skyline and monotone facades are observed in Pudong. Furthermore, the lighting programs in Pudong have made aesthetical and functional influences on this façade of Shanghai. Achieving full financial benefits from tourism, state ownership of land, large investment and hegemonism of real estate firms as well as cheap labor force eventually caused fundamental changes in city centers and urban parts and political maneuvering and a show of Chinese life has emerged as a result. But the pressure of rapid development and the non cultural purposes of the government lead to imitative historic approaches and shallow imitation of historical architecture and as a result China remains hidden behind facades of fake modern and antique today.}, keywords = {Urban Façade,Qianmen street in Beijing,Historical approach,International approach,Pudong area in Shanghai}, title_fa = {زندگی امروز، گمشدۀ توسعه شهری چین؛ از ویترین‌‌‌‌‌سازی عهد عتیق تا فانتزی‌های قرن 21 بر نمای شهر}, abstract_fa = {با روند پرشتاب توسعه اقتصادی چین، چهار برابر شدن نرخ رشد این کشور در طول دو دهة اول قرن 21 و روند رو به رشد جهانی‌‌شدن، اجرای برنامه‌های توسعه‌ای گوناگون و عظیم در شهرهای مختلف چین امری دور از ذهن نیست. پکن و شانگهای از جمله شهرهایی هستند که با برخورداری از درهای اقتصادی باز و ارتباط با دنیای پیرامون قبل از سایر شهرهای چین جهانی‌شدن را تجربه کردند. در مسیر توسعه با بهره‌گیری از قانون عدم مالکیت شخصی، چهرة شانگهای به عنوان شهر تجاری و یکی از سه قطب اقتصادی دنیا و پکن به عنوان شهری توریستی، تاریخی و یکی از قدیمی‌ترین پایتخت‌های جهان، متحول شد. در این توسعه شتاب‌زده دو رویکرد نسبتاً افراطی بر برنامه‌های توسعه شهرهای چین حاکم است؛ گاه اخذ رویکرد بین‌المللی که در آن بلوارهای وسیع، برج‌ها و مجتمع‌ها جایگزین بناهای ویران‌شده می‌شوند و گاه رویکرد تاریخی اساس کار می‌شود. در هر حال هر دو منعکس‌کننده تصویر چین قرن 21 هستند. بسیاری از پروژه‌های حاضر چین تقلیدی سطحی و ارزان از معماری گذشته یا شیفتگی به رویکردهای بین‌المللی است که سبب از دست رفتن تاریخ اکنون در شانگهای تجاری و پکن تاریخی شده است. دو منطقه «کیانمن» در شهر پکن و «پودونگ» در شهر شانگهای نمونه بارزی از توسعه‌های شهری اخیر کشور چین است. اتخاذ دو رویکرد مختلف به شکل‌دهی سیمای آنها نتایج متفاوت از درک و ذهنیت مخاطب را القا می‌کند. در این تحقیق با معرفی دو رویکرد تاریخ‌گرا و بین‌المللی در دو نمونه کیانمن و پودونگ، نتایج تصمیمات مدیریت شهری در شکل دادن به نمای شهر مطابق با اهداف هویتی، کاربردی و زیباشناسی منظر شهری بررسی می‌شود.}, keywords_fa = {نمای شهری,خیابان کیانمن پکن,رویکرد تاریخ‌گرا,رویکرد بین‌المللی,منطقه پودونگ شانگهای}, url = {http://www.manzar-sj.com/article_2234.html}, eprint = {http://www.manzar-sj.com/article_2234_426e3a8de682a66a7c507d57bfd726f7.pdf} } @article { author = {Kasravi, Reza}, title = {Dictated façade; White City, the new identity of Ashkhabad}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {4}, number = {20}, pages = {50-55}, year = {2012}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {Following its independence from the Soviet Union in the 90s, Turkmenistan included a new area to its capital Ashkhabad – the White City. The City has an area of about 5,000 hectares and was added to southern Ashkhabad in late 90s. The purpose for construction of the city has been cited as in line with the government efforts to create a new identity for Turkmenistan – an identity which would be based on the Turkmen culture and ethnicity. The White City is comprised of many governmental buildings, ministries, banks, medical centers and hotels together with high-rise buildings. These are all connected to each other through a network of highways. This is what makes up the new Ashkhabad. The Old Ashkhabad which was based on the Soviet-era pattern of “The Future City” cannot represent Turkmenistan’s new identity. To the same effect, the New Ashkhabad must be accommodated with adequate facilities to be the efficient capital of a modern country. It was thus that improving the landscapes of the city was put on the agenda of the decision-makers. This, of course, followed the country’s economic prosperity and the request of the officials. The new outlook for Ashkhabad which has been dubbed as the City of the 21st Century is the prelude to the construction of the White City. At the first stage, the government picked the idea of Le Corbusier in the 20s for a garden-city which envisages the construction of commercial, residential and industrial zones with vehicle and pedestrian access points as well as the high-rise buildings among trees. Le Corbusier’s ideas, however, suffered from several instances of flaw. They included the lack of a mechanism to measure the human value, and the preference given to occupants of vehicles over pedestrians. The next stage comprises attaching a stronger attention to the role of public spaces. This is meant to showcase the authority of the government. In this stage, the lack of variety in terms of dimension, the lack of group activities and the lack of micro spaces are the main features of group spaces. In efforts by the government to promote the beauty of the city in the White City, three elements are clearly visible. They include repeating themes, using single colors and using monuments. The monuments are a building, a statue or a re-production of cultural works of the Soviet era meant to portray the greatness of the Union. The new item in the list in the White City is luxury. The white color is used to erase the grey color of the Soviet regime from the memories of the people. What is mostly visible in White City is the application of architectural designs that belong to other nations. This is because Ashkhabad lacked an architectural heritage. Another reason is the persistence of the government to make the architecture of the White City different from the joint cultural heritage with other nations of Central Asia. Examples of this include using the post-modern Western architecture in residential buildings and mosques that are based on the common architecture of Turkish mosques. The White City is eventually the result of dictations by the government in all stages from the designing of its landscape to the implementation of architectural phases. Therefore, despite the government’s efforts to give a different image to the City from the ideological image that the Soviets pursued and also due to the architectural differences across the course of history, the White City is just like the old Ashkhabad has a monotonous outlook and its image has remained at the level of pure landscapes.}, keywords = {White city,Dictated façade,New identity,Ashkhabad}, title_fa = {سیمای دستوری؛ "شهر سفید"، هویت جدید عشق‌آباد}, abstract_fa = {دولت ترکمنستان در پی استقلال این کشور از شوروی سابق در راستای ارایۀ هویت جدید از این کشور بر پایۀ قومیت و فرهنگ ترکمن در منظر جهانی، اقدام به ساخت و الحاق بخشی جدید به عشق‌آباد کرده است. تدوین چشم‌انداز جدید برای عشق‌آباد مقدمۀ ساخت "شهر سفید" است. شهر سفید، نماد ایده‌آل‌های دولت در خصوص عشق‌آباد جدید است و در این میان سیمای شهر، به وسیله‌ای برای ابراز وجود دولت تبدیل می‌شود. محصول نهایی، شهریست که علی‌رغم تلاش دولت برای نمایش تمایز شهر جدید و شهر ایدئولوژیک شوروی از یک سو و تفاوت با فرهنگ معماری بستر تاریخی، شهریست دستوری که به مانند سلف خود یکنواخت است و سیمای شهری در آن به حد نما‌سازی تنزل یافته است.}, keywords_fa = {شهر سفید,نمای دستوری,هویت جدید,عشق‌آباد}, url = {http://www.manzar-sj.com/article_2235.html}, eprint = {http://www.manzar-sj.com/article_2235_a37eca31a5dc5e2f48557f93d7804d7c.pdf} } @article { author = {Atashinbar, Mohammad}, title = {From alley to urban street; The Renovation of the 1 district in Paris with the special approach to streetscape}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {4}, number = {20}, pages = {56-61}, year = {2012}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {Streets are the main structural elements in creating urban facades and urban landscape as well as shaping citizen’s perception and interpretation from the urban landscape; that’s why they are considered the context for most important urban designs. Flandre Street (L’avenue de Flandre) in district 19 of Paris has witnessed various city projects for nearly half a century. The factor which determines Flandre Street is the bold action on the physics of the city which is in complete contradiction with urban conservative policy. In the 60s and 70s modern sculptural forms without any attention to the historic context and scale of the street with a mix of towers and fences formed the street’s façade. The Paris Municipality decided to design the central space with widening the street to modify the extreme differences between the two edges because it had affected the traditional and Parisian facade of the 19 district. After the second project Flandre Street was renamed to Flandre urban street. This paper tries to analyze and assess the recent proceedings in Flandre Street based on Paris City paper documents in the past six decades and according to the process of façade formation in different periods on the consequences resulted from the followed approaches in its renovation. Although in the two big projects where lots of effort and expenses were spent and the municipality of Paris tried to transform Flandre Street to North Champs Elysees according to the comprehensive plan of the second half of the 20th century, the project seems to be a failure due to lack of integrity. Each project focuses on the physics of the street and doesn’t consider them an integrated whole. Although the modern western edge obtained a specific characteristic as a separated large-scale street, the noticeable fact is that Flandre Street was formed and grew apart from its identity and origins and physical approaches to the recently approved reform plan did not work in  to forming the street’s façade. In other words in every project the street was analyzed into its contributing elements; In the Renovation Project, the body was the main issue and the in widening project, the floor was the most significant. Though each of the constituent parts of the street landscape can be the subject of a separate design, but the contest and executive and scientific proceedings should be also prepared. The definite use of imperative and technically restrictive comprehensive plan was the factor which resulted in the concept of decomposition of a whole street to separable parts in walls and floors due to the street management policies. While the urban façade is not formed by physical confinements and it is approved in multiple renovation experiences in Flandre Street within the last 50 years.}, keywords = {Flandre Street,Paris,Renovation,Street Widening}, title_fa = {از گذر تا خیابان؛ نوسازی محدوده «ریکه» پاریس با رویکرد سیمای خیابان}, abstract_fa = {خیابان اصلی‌ترین عنصر ساختاری شهر در شکل‌دادن به نما و سیمای شهر و در نتیجه شکل دادن به ذهنیت و درک شهروندان از منظر شهر است. از همین روست که به عنوان بستر مهم‌ترین طرح‌های شهری نیز مورد توجه خاص قرار دارد. خیابان فلاندر (L’avenue de Flandre) در منطقه 19 پاریس نیز از این قاعده مستثنی نبوده و حدود نیم قرن است که شاهد اجرای پروژه‌های شهری مختلف است. عامل مشخص کننده خیابان فلاندر از سایر خیابان‌های پاریس، اقدام‌های شهری جسورانه روی کالبد است که با یک نگاه ساده، تضاد آن ‌با سیاست‌های شهری کاملاً محافظه کارانه در پاریس قابل درک است. این نوشتار با بررسی اسناد شهری پاریس در شش دهه گذشته به تحلیل و ارزیابی اقدامات صورت گرفته در خیابان فلاندر با تکیه بر نحوۀ شکل‌گیری نمای این خیابان در دوره‌های مختلف و نتایج حاصل از رویکردهای اتخاذ شده در نوسازی آن می‌پردازد.}, keywords_fa = {خیابان فلاندر,پاریس,نوسازی,تعریض خیابان}, url = {http://www.manzar-sj.com/article_2236.html}, eprint = {http://www.manzar-sj.com/article_2236_a59a21089d4b8aad13696c0d39ad38bc.pdf} } @article { author = {Rahmdel, Samaneh}, title = {Colors, the tools to create landscapes; Lassus design for street landscape of a residential complex}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {4}, number = {20}, pages = {62-65}, year = {2012}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {Grey landscapes, resulted from construction of residential complexes for the middle stratum of the society, are the unwelcome legacy of modernism passed down to the streets of the cities. Homogeneity and similarity of concrete structures creates dull sceneries with negative effects on the total landscape of the city and prevents development of a sense of belonging for the inhabitants. These landscapes, which are a part of pre-designed architecture, provide little space for renovation and reconstruction. Batigere residential complex in Uckange city is an example of such constructions, whose negative effects on city’s landscape and the inhabitants forced the municipality to reconsider the public place of the complex and the landscape it had created. Bernard Lassus, a French landscape architecture, supervised the reconstruction project. During the reconstruction project of Batigere residential complex, Lassus used metonymy and metaphor in the form of wall painting. Deriving from the cultural-positional background of the complex and combining the concept of the design with the real-mental environment, Lassus moved the concept of wall painting beyond an asocial art while creating a favorable environment for the inhabitants and bestowing a new pleasant identity to the street. The significance of the project lies in the attempts of a landscape architecture and painter in combining the two arts and creating an urban landscape in the form of wall painting. This paper analyzes Lassus’ surreal approach to removing the sense of detachment –resulted from homogeneous construction– and the achievements of his approach from identity, esthetic and functional standpoint. Lassus’ plan for covering the multiculturalism of the complex was painting a virtual garden containing various cultural items of different civilizations instead of constructing a real garden. This approach was adopted to give identity to the complex. Batigere’s wall painting can be regarded as a surreal interpretation of natural elements. The painted apartments and natural elements are Lassus’ chosen scenes minus their reality, which have left behind the time and space to which they belonged and have reached a new two-dimensional ground.  Lassus believes that the move toward “imagination” is the way to reach the environments which are perceptible by different cultures. The more imaginary the environment, the more interpretations can be deduced. This imagination-based creation is a type of pluralism in the form of collage which reproduces the identity-seeking mentality of the addressee with a surreal identity and pluralistic approach. From esthetic and functional standpoint, the imaginative painting harmonious with natural elements has been very successful in beautification of the surrounding streets. Spectators on foot or in vehicles pass the street and experience a colorful scene. This colorful scene has omitted boring elements unpleasant to the eye and has created a more attractive street. Furthermore, the pluralistic and varied scene has redefined the mental concept of street based on varied elements of the painting, and this has resulted in the street to be more visually readable. The target of the project was creating a new landscape which would give “identity” to the inhabitants of the complex and, in the larger scale, would result in more visual readability for the street based on “beauty”. The architect’s skill in choosing the appropriate tools and his deep understating of the context, time and addressee created an imaginative environment by use of “wall painting” as a limited tool. This environment answered to the multiculturalism of the complex and created a visually readable scene with a limited budget.}, keywords = {Bernard Lasus,Identity,Colored façade,Graffiti,Surrealism}, title_fa = {رنگ، ابزار خلق منظر؛ طرح لاسوس برای نمای خیابانیِ یک مجتمع مسکونی}, abstract_fa = {نمای خاکستری، به‌جامانده از فرآیند مجتمع‌سازی برای طبقة متوسط جامعه، میراث ناخواستۀ مدرنیسم بر بدنة خیابان‌ها است. یکنواختی و مشابهت نماهای بتنی، فضاهای همسان و کسل‌کننده‌ای را ایجاد کرده که هم بر سیما و نمای شهر تأثیر منفی دارد و هم مانع احساس تعلق ساکنین به محل زندگی خود می‌شود. این نماها به‌ عنوان بخشی از یک معماری با ساختار و شکل از پیش تعیین‌شده از ظرفیت‌های محدودی جهت مداخله و نوسازی برخوردار است. مجتمع مسکونی باتیژ در شهر اوکانژ نمونه‌ای از این مجتمع‌هاست که تأثیر منفی فضای آن بر نمای شهر و ساکنین مجتمع، شهرداری را به بازنگری در فضای باز مجتمع و نمایی که برای شهر رقم زده بود، واداشت. "برنارد لاسوس"، معمار منظر فرانسوی طراحی و اجرای پروژة بازسازی نمای مجموعه را بر عهده داشت. لاسوس پیش از ورود به عرصة منظر سال‌ها به ‌عنوان نقاش شناخته می‌شد و فضاسازی مبتنی ‌بر رنگ‌آمیزی و استعاره‌های هنری مجازی از راهبردهای اصلی وی در طراحی منظر به ‌شمار می‌رود. در پروژة بازسازی نمای مجموعه مسکونی باتیژ، لاسوس از مجاز و استعاره در قالب نقاشی بر دیوارهای مجتمع بهره می‌گیرد و با تأثیرپذیری از زمینة فرهنگی- مکانیِ مجموعه و درگیر کردنِ کانسپت طرح با عناصر عینی- ذهنی محیط، توانسته نقاشی دیواری را از چارچوب‌ هنری غیراجتماعی خارج کرده و ضمن آفرینش فضایی مطلوب برای ساکنان، هویتی نوین و توأم با خوانایی به خیابان ببخشد. اهمیت پروژه در آن است که چالش یک معمار منظر- نقاش امتزاج این دو هنر و خلق فضایی شهری در قالب نقاشی دیواری است. در این نوشتار، رویکرد سوررئال لاسوس برای پاسخ به بحران عدم تعلق خاطر- ناشی از نماسازی یکنواخت- و دستاورد این رویکرد در قالب آفرینش باغ- شهر خیالی مورد بررسی قرار می‌گیرد.}, keywords_fa = {برنارد لاسوس,هویت,نمای رنگی,نقاشی دیواری,سوررئالیسم}, url = {http://www.manzar-sj.com/article_2237.html}, eprint = {http://www.manzar-sj.com/article_2237_ad469aba9fda0e76c967c4cd245d0c18.pdf} } @article { author = {Azmudeh, Maryam}, title = {Communicational Scape; Media facade in city square}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {4}, number = {20}, pages = {66-69}, year = {2012}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {The term Media Facade is often associated with over-dimensional screens and animated, illuminated and advertising places. The façade itself is dematerialized and it is turned into one huge advertising medium of publicizing. At the onset of dusk the building moves into the background and serves only as a backdrop for the light show which then becomes the main attraction. Today in shaping urban landscape, modern tools and approaches are involved which rely on technologies and ideas. Media facades are a group of urban facades which create a virtual shell on building facades by using technology and digital systems. In recent decades, the media has been applied in shaping of many urban landscapes in different parts of the world. This can happen in the scale of a façade or a total building, a street or a square. This article mentions two cases of large-scale multimedia features, including shots of Times Square in New York and the longest media façade in Jakarta in order to investigate this issue. Comparing the two examples can result in new technologies which are needed to deal with problems and it can lead to a conservative management for better operation.     As a result, these kinds of screens become more ubiquitous and they could have a significant impact on how people perceive both urban landscapes and architecture. While projection mapping already allows us to see buildings as a canvas, they are impermanent illusions when compared to screen facades. Screens are becoming the essential parts of city life, both as canvases for adding artistic visuals to a city landscape, and also as a means of communicating information (and, to our chagrin, a place for advertising).Generative art at this scale lets us imagine the city as a public space constantly in flux. It highlights the daily movements of its inhabitants and emphasizes the city as a center of fluid technological innovation and cultural advancement.}, keywords = {Urban Façade,Media façade,technology,Times Square in NY,Jakarta}, title_fa = {سیمای ارتباطی؛ نمای مدیا در میدان بزرگ شهر}, abstract_fa = {امروز ابزارها و رویکردهای نوینی با تکیه بر تکنولوژی‏ها و نظریات روز در شکل دادن به نمای شهر، دخیل است. نمای مدیا گروهی از نمای شهری‌ است که با تکنولوژی روز دنیا و استفاده از سیستم‏های دیجیتالی پوسته‏ای مجازی را بر سطح نمای ساختمان‏ها به وجود می‌آورد. در دهه‏های اخیر از تکنیک مدیا در شکل دادن به نمای شهرهای مختلف جهان استفاده شده است چنانکه در طول زمان تأثیرات قابل توجهی را نیز در دریافت ساکنین از نمای شهر ایجاد کرده است. این تکنیک در مقیاس‏های متنوعی از یک ساختمان تا نمای یک خیابان و یا یک میدان شهری قابل اجراست. نوشتار حاضر با تشریح دو نمونه از نماهای مدیا در میدان تایمز نیویورک و طولانی‌ترین آنها در جاکارتا به بررسی این تأثیرات می‌پردازد.}, keywords_fa = {نمای شهری,نمای مدیا,تکنولوژی,میدان تایمز نیویورک,جاکارتا}, url = {http://www.manzar-sj.com/article_2238.html}, eprint = {http://www.manzar-sj.com/article_2238_dffb469f4e5ccda7a79ab10962fdba05.pdf} } @article { author = {Motedayen, Heshmatollah and Hojjati, Reyhane}, title = {Artificial façades; The identification capacities in the management of new towns-scape}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {4}, number = {20}, pages = {70-73}, year = {2012}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {Lack of identity and affiliation is one of the citizen’s problems numerous cities. These cities which are built in arid lands with pre-made designs are lifeless places where no citizen has the tendency to live in. As a result, the residents and even the city seek identity in the metropolis which they essentially depend on. Utilizing the existing capacities of the city context alongside a wise management and offering an urban façade with identity and increasing the sense of affiliation in citizens can solve the problems arisen from lack of identity in the cities which have become just a place for sleeping. Since the new city is empty of images and urban notions, it is alike an unfinished construction site and this problem magnifies the sense of unstable living in the city. In this case, urban façade and city façade management can play a significant role in creating a distinct image of the city. The main street of the city can play an important role in introducing and identifying the city as well as creating a sense of affiliation in citizens. Designing of these spaces can reduce the problems of lifelessness in new cities. Consideration of the original street façade identity which can provide a distinct image of the city is too essential. Recognizing the potential of each city can have an influential impact on advancing the goals in city planning as well. There are some potential in Pardis new city such as orientation and formation on the slope that can be used for presenting aesthetic, functional and identifying goals and strengthening the role of the main street as city center by designing these edges appropriately. This paper tries to discuss the shaping factors of Pardis new city (Molasadra) in aesthetic, identity and functional dimensions by analyzing the main facade of the new City as the most influential facade in shaping the identity and character of the city and eventually review the features and capabilities in shaping the urban landscape of the new city.}, keywords = {Pardis new town,Main street,Urban Façade,Identity of the city}, title_fa = {نماهای مصنوعی؛ ظرفیت‌های هویت‌بخش در مدیریت سیمای شهرهای جدید}, abstract_fa = {از معضلات شهرهای جدید نداشتن هویت و عدم تعلق ساکنان به شهری است که در آن زندگی می‌کنند. از آنجا که شهرهای جدید معمولاً در زمین‌های بایر و با یک طرح از پیش تهیه شده ساخته می‌شوند، عموماً شهرهایی بی‌روح هستند که مردم علاقه‌ای به سکونت در آنها ندارند و حاصل، شهری می‌شود که ساکنان آن و حتی خود شهر نیز هویت خود را در کلان شهری که به آن وابسته‌اند می‌جویند. در حالی که با بهره‌گیری از ظرفیت‌های موجود بستر شهر در کنار مدیریت هوشمندانۀ نماهای شهری و توجه به نمادهای هویت‌بخش و افزایش تعلق شهروندان، می‌توان معضلات ناشی از بی‌هویتی و خوابگاهی شدن شهرهای جدید را برطرف نمود. شهر جدید به علت خالی بودن از تصویرها و تصورات شهری، به مثابۀ یک کارگاه ساختمانی همیشه ناتمام است که این امر به احساس موقتی بودن ساکنان، بیش از پیش دامن می‌زند. در این میان مدیریت نما و سیمای شهری در شهرهای جدید نقش مهمی را در ایجاد تصویری مشخص از شهر ایفا می‌کند. این نوشتار بر آن است که با تحلیل نمای محور اصلی شهر جدید پردیس (خیابان ملاصدرا) ‌به‌ عنوان تأثیرگذارترین نما در شکل دادن به هویت و شخصیت برای این شهر، مؤلفه‌های شکل‌دهنده به آن را در ابعاد مختلف زیباشناسی، هویتی و کارکردی مورد بررسی قرار داده و امکانات و ظرفیت‌های موجود در شکل دادن به نمای شهری پردیس را مورد توجه قرار دهد.}, keywords_fa = {شهر جدید پردیس,خیابان اصلی شهر,نمای شهر,هویت شهری}, url = {http://www.manzar-sj.com/article_2239.html}, eprint = {http://www.manzar-sj.com/article_2239_b15b9313accba274e5d02edd39a9ef7d.pdf} } @article { author = {Karimi Moshaver, Mehrdad}, title = {Towers and Focal Points; The Role of Milad Tower in Urban façade of Tehran}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {4}, number = {20}, pages = {74-77}, year = {2012}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {Among the significant contributing elements in shaping the skyline of every city are the towers. Every tower is considered a landmark which provides a profound meaning and importance to the city’s skyline. The role of towers can be discussed in semantic, aesthetic and visual aspects. Further than that the scale of their influence on the city is also noticeable, which is discussed in macro and micro scales in this paper. High-rises in different historic periods are considered and functioned as a tribune for presenting the society’s mind. Many obligations and requirements of different periods of history can be analyzed through tall monuments of many societies. Therefore, a framework of judging and interpreting the tall monuments is shaped. Considering the mentioned fact, it is necessary to know public spontaneous interpretation of high-rises. Unity, solidarity and continuity should also be considered in the design and planning of every unique tower. Nowadays, the height of the building is no more a concerning issue and more attention is paid to persistence of the building as a permanent cultural symbol in macro scales. Probably, the main problem in planning for Tehran city is the goal of achieving maximum height for Milad Tower and not achieving a tower which reflects local and indigenous symbols that can become global. Milad Tower does not properly match the skyline of Tehran and the city view. It can probably be concluded that it is connected inappropriately to the skyline, because there are less tall buildings in Tehran. This paper tries to discuss the influence of Milad Tower on urban façade and view of Tehran in macro-scale based on theoretical framework regardless of the functional aspects. Regarding the researches and studies it is concluded in this paper that Milad Tower has not been successful in representing Tehran as an urban landmark.}, keywords = {Tower,Skyline,Aesthetic dimension,Visual dimension}, title_fa = {برج‌ها و نقاط عطف؛ نقش برج میلاد در نمای شهر تهران}, abstract_fa = {حضور برج در شهرها از عوامل اصلی شکل‌گیری خط آسمان و سیلوئت شهر به شمار می‌رود. در خط آسمان یک شهر، برج به عنوان نقطه عطف واجد بار معنایی بوده و از اهمیت برخوردار است. نقش برج‌ها در شهر را می‌توان در ابعاد معنایی، زیباشناختی و بصری مورد بررسی قرار داد. علاوه بر ابعاد ذکر‌شده مقیاس تأثیرگذاری برج‌ها نیز از موارد حائز اهمیت است، که در این نوشتار در دو مقیاس خرد و کلان به آن پرداخته می‌شود. در مقاله حاضر به ویژگی‌های برج میلاد بر اساس چارچوب نظری مطرح شده و فارغ از بعد عملکردی برج، و در مقیاس کلان و تأثیر‌گذاری آن در نما و چشم‌انداز شهر تهران پرداخته شده‌است. در نهایت و بر اساس بررسی‌های صورت گرفته در این نوشتار می‌توان گفت برج میلاد به عنوان یک نشانۀ شهری نقش موفقی در شهر تهران ندارد.}, keywords_fa = {برج,خط آسمان,بعد معنایی,بعد زیباشناختی,بعد بصری}, url = {http://www.manzar-sj.com/article_2240.html}, eprint = {http://www.manzar-sj.com/article_2240_3b4e78418ecadda58f528caef21514b0.pdf} } @article { author = {Pasban Hazrat, Gholamreza}, title = {Modarres Highway Landscape; Explaining design factors and ideas}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {4}, number = {20}, pages = {78-81}, year = {2012}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {The process of development and formation in Tehran city is based on east-west and specially north-south and inner city highway edges which have become one of the most significant elements in urban landscape. Modarres highway is approximately 9 km long connecting Haft-e-tir square to Valiasr intersection. It is one of the most prominent north-south axis of Tehran transportation and communication system and the first inner city highway with designed sides which have demonstrated a different visage of Tehran along the highway. Landscaping the highway edges not only has created a different and pleasant micro-climate in Tehran, but also has made it a persistent artery in the minds of city residents due to its green and diverse landscape. Having used existing potential in the context of the project in landscaping Modarres highway edges, the program was completed by a new method with the help of various planting. The steep walls of the highway, with the aim of regulating the fabrics have been organized. In designing Modarres Highway landscape two main safety and persistency principals were applied. In addition to mentioned principals, many micro ideas such as continuity, diversity, unity, urban gardens and etc were considered in order to provide identity to place. Contrary to other ordinary concrete highways in Tehran, Modarres highway offers unique identity by its green landscape and beauty. This paper tries to analyze semantic, functional and aesthetical aspects of facading highway edges after a brief report of the design.}, keywords = {Modarres Highway,Tehran,urban garden path,inner city highway}, title_fa = {منظر بزرگراه مدرس؛ تبیین عوامل و انگاره‌های طراحی}, abstract_fa = {روند شکل‌گیری و توسعه ساختار شهر تهران بر پایه بزرگراه‌های شرقی ـ غربی و به ویژه شمالی_  جنوبی، بدنه‌ها و جداره‌های بزرگراه‌های درون‌شهری را به یکی از مهم‌ترین مؤلفه‌های شکل‌دهندة منظر و سیمای شهر تهران تبدیل کرده است. بزرگراه مدرس از محورهای شمالی- جنوبی مهم تهران به عنوان اولین بزرگراه شهری که بدنه‌های آن طراحی و اجرا شده است، توانسته تصویر و نمایی متفاوت از شهر تهران را در امتداد این مسیر به شهروندان ارایه کند. منظرسازی جداره بزرگراه علاوه بر اینکه به لحاظ اکولوژیک، خرده اقلیمی (microclimate) متفاوت و مطبوع را در شهر تهران شکل داده است، به واسطۀ منظر سبز و متنوع توانسته است به یکی از شریان‌های ماندگار در ذهن شهروندان تهرانی تبدیل شود. جداره‌ بزرگراه مدرس با شیوه‌ای متفاوت از نمونه‌های مشابه که جداره‌های آنها را دیواره‌های بتنی شکل داده است، با بهره‌گیری از پتانسیل‌های موجود در بستر طرح و استفاده از انواع گیاهان طراحی شده است به طوری‌که جداره‌های این بزرگراه با هدف تنظیم بدنه پرشیب و ساماندهی بافت پیرامون آن صورت گرفته است.}, keywords_fa = {بزرگراه مدرس,تهران,باغ‌راه شهری,بزرگراه درون شهری}, url = {http://www.manzar-sj.com/article_2241.html}, eprint = {http://www.manzar-sj.com/article_2241_c2c7715e29f1e43c25eb60a54a84f250.pdf} } @article { author = {Yar Ahmadi, Samane}, title = {Organizational façade; Assessing the urban façade of Navvab Highway}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {4}, number = {20}, pages = {82-85}, year = {2012}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {The increasing miscellaneous development of Tehran in the recent decade has caused new structural constructions in city uncorrespondent to historic and natural structure and shaped a contradictory and discontinuous city lacking in identity and legibility. Among them are the inner city highway networks within the urban massive constructed pile. Nowadays, Tehran highways play a significant role in shaping people’s minds about the landscape and appearance of the city. In fact; they contribute in shaping the urban landscape and conveying citizen perception of the city. New north-south and east-west highways are constructed in different regions of Tehran which have transformed micro-scale residential edges to urban facades and first-rate edges; the edges require special urban landscape goals and appropriate planning and management. Navvab highway is a manifest example for formation of residential edge adjacent to a highway; a planned edge in which the crossing ways have also great significance for its north-south position and the scale of project in Tehran. Today Navvab highway, the north-south arterial highway alongside Chamran highway, does not offer solidarity or unity with the adjacent texture due to multiple constructed high-rises. Lack of identity and sense of affiliation to the place has made this highway a separated and unsustainable element in urban system of Tehran. The most noticeable aspect in Navvab highway is the issue of non-compliance with the privacy and land-division alongside the highway and disaffiliation with the adjacent texture in form of general problems such as pollution, the problems of the urban landscape as well as safety and visual perspective. Buildings without diversity in facades with simple skyline are among the problems of this urban façade which reduces legibility of the environment. Ignoring the historic, natural and cultural potentials in the confined area of Navvab highway and lack of a comprehensive system in planning and designing has resulted in the recent commercial, social and physical problems and issues in constructed parts of this area. These proceedings not only had any positive or qualitative results, but also have brought up too much inelegance and vulgarity. Opening spaces and allocating them to public spaces within the adjacent residential texture, revising traffic problems, concentrating on hierarchy, pedestrian movement, connecting the adjacent textures of the highway by adding a commercial-service layer and green space can revitalize these edges and attach them appropriately to the existing urban decay. This paper tries to discuss Navab’s wall as one of the most significant urban facades in Tehran in functional, aesthetic and identity aspects and analyze its other various aspects and potential in shaping Tehran’s urban façade.}, keywords = {Urban Façade,City highway,Tehran,Navvab highway}, title_fa = {نمای سازمانی؛ ارزیابی نمای بزرگراه نواب}, abstract_fa = {توسعه روزافزون و ناهمگون شهر تهران در دهه‌های اخیر، ساخت و سازهای جدید ساختاری را در شهر پدید آورده است که با ساختار طبیعی و تاریخی آن در موارد بسیاری تطبیق نداشته و شهری متضاد و گسسته را پدید آورده که هویت و خوانایی خود را از دست داده است. از این ساخت و سازهای جدید می‌توان به شبکه بزرگراه‌های درون‌شهری و توده‌های عظیم ساختمانی اشاره کرد. امروز بزرگراه‌های تهران از مهم‌ترین عناصر استخوان‌بندی شهر در جهت‌دهی ذهنیت شهروندان از سیما و منظر شهر نقش بسزایی را ایفا می‌کنند و در واقع بخش مهمی از نمای شهری تهران امروز را تشکیل می‌دهد و درک شهروندان از شهر کنار این بزرگراه، شکل می‌گیرد. در تهران بزرگراه‌های شمالی- جنوبی و شرقی- غربی متعددی در محدوده‌ها و مناطق مختلف شهر احداث شده است؛ عبور بزرگراه‌ها از مناطق مسکونی، جداره‌های مسکونی، که زمانی در مقیاس خرد تحلیل می‌شدند، را به نمای شهری و جداره‌های درجه اول شهر تبدیل کرده ‌است؛ جداره‌هایی که برخورد با آنها در چارچوب اهداف منظر شهری، مدیریت و برنامه‌ریزی ویژه‌ای می‌طلبد. بزرگراه نواب نمونه‌ای بارز از شکل‌گیری جداره مسکونی در کنار بزرگراه است؛ جداره‌ای برنامه‌ریزی شده که راه میان آن هم به لحاظ موقعیت اصلی شمالی‌ـ جنوبی و هم به لحاظ مقیاس پروژه در شهر تهران، اهمیت ویژه‌ای دارد. این نوشتار تلاش می‌کند جداره بزرگراه نواب را به عنوان یکی از شاخص‌ترین نماهای شهری تهران در ابعاد مختلف کارکردی، هویتی و زیبایی‌شناسی مورد بررسی قرار داده و ابعاد و ظرفیت‌های مختلف آن را در شکل‌دهی به نمای شهر تهران تحلیل کند.}, keywords_fa = {نمای شهر,بزرگراه درون شهری,تهران,بزرگراه نواب}, url = {http://www.manzar-sj.com/article_2242.html}, eprint = {http://www.manzar-sj.com/article_2242_a7e09f6aea45ab765e7284b9d27c189e.pdf} } @article { author = {Mansouri, Maryam al-Sadat}, title = {Façadism in Paris; A paradox in the Paris urban facade management}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {4}, number = {20}, pages = {86-90}, year = {2012}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {Paris is one of the most fascinating and most popular cities for tourism attraction in the world. Paris not only obtains its charm for its valuable historic buildings and signs value, but also the city itself is a cause of tourism attraction. This city is distinguished from other tourism destination by offering unity of space and integrated management. Pedestrian spaces, human scale, sin river stations and performances on the street makes the strolling in streets and watching the facades more exciting than entering the buildings. Paris consists of two quite distinct parts: the historic and modern sectors. A coordinated, integrated and monotone Parisian architecture is observed in the historic sector while the modern sector offers international style of architecture which can be seen in many other European cities. There is no influence of modernity and modern architecture in the historic city centre. The sin river acts as an interface of these sectors and its sides have been organized in different places according to the context. This policy has protected the historical heritage and has conveyed all the innovations and "internationalisms" to distant locations. But does this maximum detachment seem as pleasant to the citizens as others? Strict determination of managers in holding conservative policies of urban managers is quite obvious in the landscape and urban facade of Paris. This urban facade has accomplished through decades of conservative management and in particular the shaping and implementation of façadism in the city. It seems that what façadism has offered in three aesthetic, functional and cultural-identity aspects have converge in creating a type of “dualism” in urban landscape of Paris which can be classified as following: Maximum contrast between the aesthetics stated by managers and visual city division; Life in two completely separate and unconnected sectors and even hided from each other (life in urban open spaces and life within buildings); Absence of identity in Paris due to equipollent modern and historic sectors This paper tries to root out and analyze the influences of façadism on urban landscape of Paris and refers them to cited existing documents, studies and criticisms to accomplish its purpose.}, keywords = {Paris,Management of urban façade,Facadism}, title_fa = {نماگرایی در پاریس؛ پارادوکس در مدیریت نمای شهری پاریس}, abstract_fa = {پاریس یکی از جذاب‌ترین و توریستی‌ترین شهرهای دنیاست. جذابیت پاریس تنها به بناها و نشانه‌های تاریخی و با ارزش آن نیست، بلکه خود شهر عامل جذب توریست به شمار می‌رود. وحدت فضا و مدیریت یکپارچه، این شهر را از سایر شهرهای توریستی متمایز می‌کند. فضاهای پیاده، مقیاس‌های انسانی، توقف‌گاه‌های کناره رود سِن و نمایش‌های خیابانی در شهر باعث شده تا پرسه زدن در خیابان‌ها و مقابل ساختمان‌ها از ورود به آنها خوشایندتر باشد. پاریس از دو بخش کاملاً متمایز تشکیل می‌شود : بخش سنتی و بخش مدرن. در پاریس سنتی، معماری یکپارچه، هماهنگ و تقریباً تک‌رنگ پاریسی1 را شاهد هستیم حال آنکه پاریس مدرن دارای معماری بین‌المللی است که در بسیاری از شهرهای اروپایی نظیر آن مشاهده می‌شود. در منظر و نمای شهر پاریس اما، قاطعیت مدیران پاریس در اعمال سیاست محافظه‌کارانه نگهداری نماهای شهری کاملاً پیداست. نفوذ مدرنیته و معماری امروز در مناطق مرکزی شهر نزدیک به صفر است. تنها رابط میان دو بخش شهر، رودخانه سن است که البته کناره‌های آن هم، متناسب با بستر، در مکان‌های متفاوت به صور مختلف ساماندهی شده است. این سیاست، میراث تاریخی شهر را به خوبی محافظت کرده و تمامی نوآوری‌ها و «بین‌المللی‌گری‌ها» را به نقاط دورتر انتقال داده است. آیا این تفکیک حداکثری برای شهروندان پاریسی نیز همین‌قدر خوشایند است؟ این نوشتار در پی یافتن و تحلیل تأثیرات نهضت نماگرایی در منظر شهری پاریس امروز است و بدین منظور به مستندات موجود و مطالعات و نقدهای صورت گرفته به این نهضت استناد می‌کند.}, keywords_fa = {پاریس,مدیریت نمای شهری,نهضت نماگرایی}, url = {http://www.manzar-sj.com/article_2243.html}, eprint = {http://www.manzar-sj.com/article_2243_7cf360f18ba19adf7766399f008f2242.pdf} } @article { author = {}, title = {Who owns the urban façade? City managers or citizens?}, journal = {MANZAR, the Scientific Journal of landscape}, volume = {4}, number = {20}, pages = {91-95}, year = {2012}, publisher = {}, issn = {2008-7446}, eissn = {2008-2169}, doi = {}, abstract = {The management of city facades particularly in places where the landscapes have been created by private owners is today a controversial subject of debate among those involved in the management of urban facades issues. The most important question is the exact position of the private owners of urban facades as well as the municipalities in decision-makings over the management of city landscapes.There are three approaches for making decisions over city facades. The first approach considers the municipality as the sole owner of city facades. The second approach is supported by the owners of buildings which comprise a significant share of city facades. The third approach is a more balanced combination of the above.It considers the rights of both private owners of buildings and the municipalities. The solution over decisions regarding city facades is sought through the middle ground with a slight inclination to one of them. Nevertheless, this approach is often faced with criticisms in certain areas.It appears that an efficient equation between the rights of the private building owners and municipalities is a complexissue which is yet to be designed and put into work. The failure of these approaches to create a balance between therights of both sides is a testimony to the complexity of the problem.}, keywords = {}, title_fa = {نمای شهری از آن کیست؟ مدیریت شهر یا ساکنان شهر؟}, abstract_fa = {بحث چگونگی کنترل و شکل دادن به نماهای شهری به ویژه در آنجا که بناهایی با مالکیت خصوصی نمای شهر را شکل می‌دهند، از مباحث مناقشه برانگیز در مدیریت منظر شهر به شمار می‌رود. سؤال اساسی تبیین دقیق جایگاه حقوقی بخش خصوصی به عنوان مالک و همچنین حقوق بخش عمومی (مدیریت شهر) به عنوان متولی این امر، در تصمیم‌گیری و کنترل نماهای شهری است. در این زمینه سه رویکرد متفاوت وجود دارد؛ نخست رویکردی که بخش عمومی و مدیریت شهر را مالک بلامنازع نماهای شهر می‌داند. رویکرد دوم، تمام اختیار و تصمیم‌گیری پیرامون نماهای شهری را تحت کنترل مالک بنا می‌داند. رویکرد سوم به تلفیق این‌ دو و ایجاد تعادل میان حقوق عمومی و خصوصی می‌پردازد و تصور می‌کند که با اعمال خط میانه ‌(در وسط یا متمایل به یکی از دو طرف) قادر به حل مسئله است. لکن در عمل این کار هرگز ممکن نشده و در هنگام اجرا دوباره به یکی از دو رویکرد اول و دوم بازگردانده می‌شود. به نظر می‌رسد معادله‌ای که نسبت میان حقوق خصوصی و حقوق عمومی را تعریف کند، الگوریتم ساده‌ای نیست که تنها متغیرهای آن، کمیت این دو باشد؛ همان‌طور که در سه رویکرد فوق‌ به نتیجه نرسیده است، بلکه هر دو رویکرد حقوق عمومی و حقوق خصوصی جایگاه‌هایی دارند که حسب مورد باید به عنوان اصل شناخته شود. اما کجا و چگونه؟ این سؤال با صاحبنظران مختلف در میان گذاشته شد. برخی افراد که در این زمینه اظهار نظر مطبوعاتی بیشتری کرده‌اند و انتظار پاسخ تخصصی از آنها می‌رفت، از ارایة نظر خودداری کردند. لذا ویژه‌نامه منظر دیدگاه گروهی از صاحب‌نظران حوزه‌های مختلف دانشگاهی، حرفه‌ای و مدیریتی داخل و خارج از کشور را به نحوی که به نقش دو متغیر حقوق خصوصی و حقوق عمومی در مدیریت نماهای شهری پرداخته باشد و احیاناً پیشنهادات جدید را برای طرح معادلة مذکور، جویا شد.}, keywords_fa = {}, url = {http://www.manzar-sj.com/article_2244.html}, eprint = {http://www.manzar-sj.com/article_2244_aeff130edb75e06f4c7e47ee7ff8a4cf.pdf} }