NAZAR Research CenterMANZAR, the Scientific Journal of landscape2008-744662920150101selective natureselective nature3310055FASeyed-AmirMansouri0000-0002-2865-6859Journal Article20150706What to look for in Abbas Abad pool? A lake in middle of the forest on the mountain heights with an encircled building with waters and a garden ashore? Why are the trees cut and used to build a garden? And what is the purpose of placing a lake on a dominant and deep valley over the Khazar Sea. Today, green trees are grown in Abbas Abad Garden and no sign of Landscaping or water features can be found. There exist two pressure reducing facilities for transferring waters to fountains at both sides of the pool within two brick towers. The weeds are all over the Cheshme-Emarat which used to look like an island. The most enchanting attraction is the seats, fireplaces and boats which provide recreation and nature promenade regardless of its forgotten history. Why to build a garden within the forest? What does this building do among the waters? Why is there a built dam? Why and to what cost did the designers try to transfer water from upstream to this point? What is the second garden on the other side of the lake? These questions are not queried in tourism plans of Abbas Abad. Abbas Abad landscape tale praises the selective nature. Unlike naturalism of Far East, where nature and everything in it is blessed, Persian naturalism belongs to the selected landscape. Selected elements of nature, water and special herbs make the essence of landscape. Sense of space, sacredness and beauty is achieved with the presence of these elements. Therefore, building a garden is justified in a forest. The conditional beauty of this place owing to the waters is brought here with difficulties. As a result of the natural earth dam and Cheshme-Emarat with a bridge across it, presence in the sacred space and a view of landscape, the connection is achieved visually. The architectural concept of Abbas Abad landscape is thereby shaped. 74 3 شماره ۲۹ زمستان ۱۳۹۳ Selective Nature Behshahr’s Abbas Abad is a landscape, a life with its remnants. There existed a connection between the physics and spirits of this life which created identity and landscape. Today, the spirit of the place is forgotten despite the remnant body which may become ruins if it is not conserved and it can become alive in case the spirit is recovered. A significant aim of tourism is achievement of past experiences and perceiving their destiny. Therefore, managers and planners should have an integral recognition from the issue to provide and revive the identifying elements of place. This goal will be achieved through understanding of the fact that every general phenomenon had a specific time of its own which is the memory of people who used to be in complete interaction with history and environment. This memory is the landscape and experiencing from history and nature can be grasped and studied through landscape. Today’s tourism requires this approach to enhance its quality. The wide image of Abbas Abad pool and Cheshme- Emarat and the boats is a clever election of “Noura Vahidian” from an unread landscape where people are engaged in oaring unaware of the genuine landscape which has not been recognized or introduced by managers. Editor- in- chiefWhat to look for in Abbas Abad pool? A lake in middle of the forest on the mountain heights with an encircled building with waters and a garden ashore? Why are the trees cut and used to build a garden? And what is the purpose of placing a lake on a dominant and deep valley over the Khazar Sea. Today, green trees are grown in Abbas Abad Garden and no sign of Landscaping or water features can be found. There exist two pressure reducing facilities for transferring waters to fountains at both sides of the pool within two brick towers. The weeds are all over the Cheshme-Emarat which used to look like an island. The most enchanting attraction is the seats, fireplaces and boats which provide recreation and nature promenade regardless of its forgotten history. Why to build a garden within the forest? What does this building do among the waters? Why is there a built dam? Why and to what cost did the designers try to transfer water from upstream to this point? What is the second garden on the other side of the lake? These questions are not queried in tourism plans of Abbas Abad. Abbas Abad landscape tale praises the selective nature. Unlike naturalism of Far East, where nature and everything in it is blessed, Persian naturalism belongs to the selected landscape. Selected elements of nature, water and special herbs make the essence of landscape. Sense of space, sacredness and beauty is achieved with the presence of these elements. Therefore, building a garden is justified in a forest. The conditional beauty of this place owing to the waters is brought here with difficulties. As a result of the natural earth dam and Cheshme-Emarat with a bridge across it, presence in the sacred space and a view of landscape, the connection is achieved visually. The architectural concept of Abbas Abad landscape is thereby shaped. 74 3 شماره ۲۹ زمستان ۱۳۹۳ Selective Nature Behshahr’s Abbas Abad is a landscape, a life with its remnants. There existed a connection between the physics and spirits of this life which created identity and landscape. Today, the spirit of the place is forgotten despite the remnant body which may become ruins if it is not conserved and it can become alive in case the spirit is recovered. A significant aim of tourism is achievement of past experiences and perceiving their destiny. Therefore, managers and planners should have an integral recognition from the issue to provide and revive the identifying elements of place. This goal will be achieved through understanding of the fact that every general phenomenon had a specific time of its own which is the memory of people who used to be in complete interaction with history and environment. This memory is the landscape and experiencing from history and nature can be grasped and studied through landscape. Today’s tourism requires this approach to enhance its quality. The wide image of Abbas Abad pool and Cheshme- Emarat and the boats is a clever election of “Noura Vahidian” from an unread landscape where people are engaged in oaring unaware of the genuine landscape which has not been recognized or introduced by managers. Editor- in- chiefhttps://www.manzar-sj.com/article_10055_e4191d610537305de1d294adb121b513.pdfNAZAR Research CenterMANZAR, the Scientific Journal of landscape2008-744662920150101Achaemenid Paradise, the Origin of Persian GardenAchaemenid Paradise, the Origin of Persian Garden61210056FAShahriarCyrusJournal Article20150706Persian garden is among significant achievements of Iranian culture which is not only known within Iranian territory but also across the Iranian plateau. What mostly enriches this achievement is its presence throughout Iranian civilization history. More remarkably, paradise definition not only sheds light on fertile Iranian civilization, but is considered an indispensable compartment in the life of Persian garden necessarily. Historical doubts about Persian garden turns into certainty in the Achaemenid era. Achaemenid gardens are of prominence in historical art and there exists important documents about this magnificent cultural achievements – not only as a garden, but also as a political, economic and art institution. Cognition of “Persian garden” is now a necessity which requires searching on essence of Persian garden in Achaemenid era. This paper reveals the position of “Persian garden” within its early ages of existence and puts the unknown angles of “garden institution” in Achaemenid era into scrutiny.Persian garden is among significant achievements of Iranian culture which is not only known within Iranian territory but also across the Iranian plateau. What mostly enriches this achievement is its presence throughout Iranian civilization history. More remarkably, paradise definition not only sheds light on fertile Iranian civilization, but is considered an indispensable compartment in the life of Persian garden necessarily. Historical doubts about Persian garden turns into certainty in the Achaemenid era. Achaemenid gardens are of prominence in historical art and there exists important documents about this magnificent cultural achievements – not only as a garden, but also as a political, economic and art institution. Cognition of “Persian garden” is now a necessity which requires searching on essence of Persian garden in Achaemenid era. This paper reveals the position of “Persian garden” within its early ages of existence and puts the unknown angles of “garden institution” in Achaemenid era into scrutiny.https://www.manzar-sj.com/article_10056_b59c21a078fde074a6750e91ed19fb21.pdfNAZAR Research CenterMANZAR, the Scientific Journal of landscape2008-744662920150101Window Aesthetics
in Safavid Miniature Window, the Original Element of
LandscapeWindow Aesthetics
in Safavid Miniature Window, the Original Element of
Landscape121910059FAFatemehKatebPh.D in Architecture, Faculty member in
Alzahra UniversityPadidehAdelvandPh.D Candidate in Art Research,
Faculty member of NAZAR research centreJournal Article20150707 miniature is one of the traditional arts which follow the features of its own speech. Many researchers from one hand with different perspectives often followed by traditionalism and mystical approaches, study the ultra facts of this art and on the other hand, other researchers due to the lack of artifacts remained by the past eras in various fields such as architecture, gardening, urbanism, art and culture have turned to this art and realized the stylistic features of each of these areas by reading them out. Based on the literature and architecture history of Iran, “window”, as a functional element has had a strong presence from the beginning of “residence” in the ancient Islamic architecture, as it has been responsible for the lighting and ventilation of air to the inside of the buildings. During the Safavid era, window as a webbed mesh item provides a way of seeing without being seen. This new item allowed the women of the Safavid period, to participate in ceremonies and have their own observation without impairing their privacy and composure despite the prohibition of their direct participation in the ceremonies, festivals and other events that, was well consistent with the principles of confidentiality of Iranian culture. By reading through the painting artworks of Safavid era as the turning point of the miniature painting of Iran, window is beyond a mere physical element that is responsible simply for lighting task, hereupon due to the presence of human interaction with the environment, it is converted to an landscape element; accordingly the artist painter, exploit intelligently the window for emplacement of characters and a way of interact between the indoor and outdoor environment. This article upon the presuming of “window” as a landscape element, claims that its aesthetic aspect is also pursue three goals of “function”, “aesthetic” and “identity” in addition to the landscape objectives. The miniature painter illustrates the functional aspect of window by using the white color for interior space of it to convey lighting concept and also through emplacement of the characters inside the framework manifests the interaction with the environment. The principle of confidentiality and hierarchies as a matter of culture and faith in land of Iran, with the element of window and its lattice design and curtains which were common in the Safavid period, are also observed in the painting miniatures; for that reason, the majority of women in the painting artworks are portrayed in the window frame in line with the concept of providing comfort and safety for them while participating in ceremonies and events. The aesthetic aspect of window is fulfilled through decoration, which the principles of traditional arts especially miniature painting; decoration especially the geometric ones in window frames implies the importance of it to the painter. According to the miniature painting of Safavid era, it can be said that the picturesque of window in this era was quite comply with the landscape-oriented aesthetic aspects. In other words, the tradition of Iranian-Islamic architecture of this era has been a landscape based convention that employing of the three elements of beautification including function, identity and aesthetic confirms the claim. miniature is one of the traditional arts which follow the features of its own speech. Many researchers from one hand with different perspectives often followed by traditionalism and mystical approaches, study the ultra facts of this art and on the other hand, other researchers due to the lack of artifacts remained by the past eras in various fields such as architecture, gardening, urbanism, art and culture have turned to this art and realized the stylistic features of each of these areas by reading them out. Based on the literature and architecture history of Iran, “window”, as a functional element has had a strong presence from the beginning of “residence” in the ancient Islamic architecture, as it has been responsible for the lighting and ventilation of air to the inside of the buildings. During the Safavid era, window as a webbed mesh item provides a way of seeing without being seen. This new item allowed the women of the Safavid period, to participate in ceremonies and have their own observation without impairing their privacy and composure despite the prohibition of their direct participation in the ceremonies, festivals and other events that, was well consistent with the principles of confidentiality of Iranian culture. By reading through the painting artworks of Safavid era as the turning point of the miniature painting of Iran, window is beyond a mere physical element that is responsible simply for lighting task, hereupon due to the presence of human interaction with the environment, it is converted to an landscape element; accordingly the artist painter, exploit intelligently the window for emplacement of characters and a way of interact between the indoor and outdoor environment. This article upon the presuming of “window” as a landscape element, claims that its aesthetic aspect is also pursue three goals of “function”, “aesthetic” and “identity” in addition to the landscape objectives. The miniature painter illustrates the functional aspect of window by using the white color for interior space of it to convey lighting concept and also through emplacement of the characters inside the framework manifests the interaction with the environment. The principle of confidentiality and hierarchies as a matter of culture and faith in land of Iran, with the element of window and its lattice design and curtains which were common in the Safavid period, are also observed in the painting miniatures; for that reason, the majority of women in the painting artworks are portrayed in the window frame in line with the concept of providing comfort and safety for them while participating in ceremonies and events. The aesthetic aspect of window is fulfilled through decoration, which the principles of traditional arts especially miniature painting; decoration especially the geometric ones in window frames implies the importance of it to the painter. According to the miniature painting of Safavid era, it can be said that the picturesque of window in this era was quite comply with the landscape-oriented aesthetic aspects. In other words, the tradition of Iranian-Islamic architecture of this era has been a landscape based convention that employing of the three elements of beautification including function, identity and aesthetic confirms the claim.https://www.manzar-sj.com/article_10059_e7ba053d8ba932b77348b3987ea0e40b.pdfNAZAR Research CenterMANZAR, the Scientific Journal of landscape2008-744662920150101Landscape Oriented
Architecture Relationship of Landscape with
Karun River EdgeLandscape Oriented
Architecture Relationship of Landscape with
Karun River Edge202610060FASeyedehzahraMardaniJournal Article20150707Iranian concentrate to natural landscape special water scenery is consistently effective on residence creation. This concentrate comes from resident necessity to water. Water had been a holy element and essential for purity in the Zoroastrians and Moslems thoughts. Sometimes Iranian concentrate to the water importance with gathering the residences around the water and sometimes with moving the water into the residences as it takes place in the central plateau. The city of Shushtar as a sample of residences collection has been continuing the living with forming between two branches of Karun. The water flow in this river city created different spaces. Belvedere is the answer of the Shushtar architecture to the river scenery and it is between private spaces and the Karun scenery as an intermediary. In this article hypothesis, inclination to residences architecture extroversion with do attention to the Karun scenery is considered. Comparison the residential samples in river edge with similar samples in historical area of Shushtar, shows the extraversion of the river edge samples. Therefore, the effect of natural scenery on location and formation of Shushtar residential architecture is so important. The view of Karun has formed new spaces such as “Veranda” (Iwan) and “Kat” as a belvedere in introverted residential architecture and it takes the living spaces construct to extroversion.Iranian concentrate to natural landscape special water scenery is consistently effective on residence creation. This concentrate comes from resident necessity to water. Water had been a holy element and essential for purity in the Zoroastrians and Moslems thoughts. Sometimes Iranian concentrate to the water importance with gathering the residences around the water and sometimes with moving the water into the residences as it takes place in the central plateau. The city of Shushtar as a sample of residences collection has been continuing the living with forming between two branches of Karun. The water flow in this river city created different spaces. Belvedere is the answer of the Shushtar architecture to the river scenery and it is between private spaces and the Karun scenery as an intermediary. In this article hypothesis, inclination to residences architecture extroversion with do attention to the Karun scenery is considered. Comparison the residential samples in river edge with similar samples in historical area of Shushtar, shows the extraversion of the river edge samples. Therefore, the effect of natural scenery on location and formation of Shushtar residential architecture is so important. The view of Karun has formed new spaces such as “Veranda” (Iwan) and “Kat” as a belvedere in introverted residential architecture and it takes the living spaces construct to extroversion.https://www.manzar-sj.com/article_10060_e64928412aae022e2c27456df62dda09.pdfNAZAR Research CenterMANZAR, the Scientific Journal of landscape2008-744662920150101“GIS for Landscape
Architects”“GIS for Landscape
Architects”262710061FAStudent Association Of Landscape ArchitectureTehran UniversityTehran university Student association of
landscape architectureJournal Article20150707Geographic Information Systems or GIS has become the popular tool for landscape architects in large environments for many years. This system has led to a revolution in design production process by landscape architects, landscape identification, integration of public policy, conduction of research work and cooperation with experts from other disciplines. It is obvious for landscape architects that GIS technology is on the verge of becoming a standard criterion for institutions and professional designers as a basis for planning and landscape design in different scales. Regarding the preparation of GIS maps for different cities of Iran and the presence of GIS professionals in various areas of landscape analysis and planning in different land use planning, urban planning and tourism in architecture and urbanism consulting engineers companies, the context for widespread use of this knowledge in the field of architecture is prepared and introducing this technology to landscape students and graduates and the students of relative fields seems essential. The translated book of “GIS for Landscape Architects” is considered the first step in introduction of GIS dimension and aspects to academic and professional sessions of landscape architecture in implementing landscape projects which is released due to perseverance of “Landscape Architecture Student Association of Tehran University” and supervision of Nazar Research Center and and sponsorship of “Tehran Beautification Organization “. How do landscape architects use GIS? This is the question that this book seeks espond by introducing 10 real-world cases. . In this book, you can see how big and small companies have replaced GIS with traditional time-consuming and imprecise creative methods innovatively and creatively to be used in analysis and synthesis of different layers of information to influence the planning and design of urban and natural sites. The book shows how GIS in scale, scope and planning stages to help Landscape Architects from planning to design. From a firm in New York City which implies the capability of creating visibility in GIS field of to help protect the visual landscape to a firm in Philadelphia which offers a simple model of supply and demand for recreational facilities with the use of GIS calculations and a company which uses GIS and synthesizes diverse influential environmental, cultural, social and economic information to propose priorities for enhancing the landscape of a central street in the heart of “Albacorque” city. In all these cases the GIS with emphasis on the interdisciplinary role of landscape architects _assembler of various specialties involved in management, planning and territorial and municipal landscape design _ plays the the main role in collecting, analyzing and utilizing data from different fields. In addition, the last three chapters of the book are allocated to introduction of applicable models as well as graphical methods of GIS and the process of assessing the measures for coming into a conclusion. This handbook is a good reference for architecture students and graduates familiar with the various features of GIS software in various areas of their profession.Geographic Information Systems or GIS has become the popular tool for landscape architects in large environments for many years. This system has led to a revolution in design production process by landscape architects, landscape identification, integration of public policy, conduction of research work and cooperation with experts from other disciplines. It is obvious for landscape architects that GIS technology is on the verge of becoming a standard criterion for institutions and professional designers as a basis for planning and landscape design in different scales. Regarding the preparation of GIS maps for different cities of Iran and the presence of GIS professionals in various areas of landscape analysis and planning in different land use planning, urban planning and tourism in architecture and urbanism consulting engineers companies, the context for widespread use of this knowledge in the field of architecture is prepared and introducing this technology to landscape students and graduates and the students of relative fields seems essential. The translated book of “GIS for Landscape Architects” is considered the first step in introduction of GIS dimension and aspects to academic and professional sessions of landscape architecture in implementing landscape projects which is released due to perseverance of “Landscape Architecture Student Association of Tehran University” and supervision of Nazar Research Center and and sponsorship of “Tehran Beautification Organization “. How do landscape architects use GIS? This is the question that this book seeks espond by introducing 10 real-world cases. . In this book, you can see how big and small companies have replaced GIS with traditional time-consuming and imprecise creative methods innovatively and creatively to be used in analysis and synthesis of different layers of information to influence the planning and design of urban and natural sites. The book shows how GIS in scale, scope and planning stages to help Landscape Architects from planning to design. From a firm in New York City which implies the capability of creating visibility in GIS field of to help protect the visual landscape to a firm in Philadelphia which offers a simple model of supply and demand for recreational facilities with the use of GIS calculations and a company which uses GIS and synthesizes diverse influential environmental, cultural, social and economic information to propose priorities for enhancing the landscape of a central street in the heart of “Albacorque” city. In all these cases the GIS with emphasis on the interdisciplinary role of landscape architects _assembler of various specialties involved in management, planning and territorial and municipal landscape design _ plays the the main role in collecting, analyzing and utilizing data from different fields. In addition, the last three chapters of the book are allocated to introduction of applicable models as well as graphical methods of GIS and the process of assessing the measures for coming into a conclusion. This handbook is a good reference for architecture students and graduates familiar with the various features of GIS software in various areas of their profession.https://www.manzar-sj.com/article_10061_7fe3d16a83f683a0a7f1c029536bebe7.pdfNAZAR Research CenterMANZAR, the Scientific Journal of landscape2008-744662920150101tourism, a cognitive systemtourism, a cognitive system283310062FASeyed-AmirMansouri0000-0002-2865-6859Journal Article201507071. The common image of tourism in Iran, in high-level samples, is a guide that provides explanations about a building’s popularity among the spaces of a historical collection: construction year, regency, sizes, number of important components, general style and interesting stories that create a mysterious visage of the complex. The tourist however, after returning, forgets about the initial data, makes up a fictional image far away from reality of the object, and minimizes the possibility of benefitting from the historical experience. In this method, historic works are objects to the observers’ wonder and not intended to be guides for future. Thus, such kind of tourism turns in to a paseo only interrupts the daily habits and expecting knowledge from it, decreases to its least. That is, in our society the concept of tourism is closer to surfing and fun rather than exploring and learning. The first one, aims at the temporary spiritual state of human and the second one his knowledge and sustainable understanding. It is clear that in tourism, the second one, which is knowledge-oriented, happiness lies in alternative modes of travel and change but its purpose, is the development of the tourist’s insight and promoting his understanding in facing his predecessors’ experiences or nature.1. The common image of tourism in Iran, in high-level samples, is a guide that provides explanations about a building’s popularity among the spaces of a historical collection: construction year, regency, sizes, number of important components, general style and interesting stories that create a mysterious visage of the complex. The tourist however, after returning, forgets about the initial data, makes up a fictional image far away from reality of the object, and minimizes the possibility of benefitting from the historical experience. In this method, historic works are objects to the observers’ wonder and not intended to be guides for future. Thus, such kind of tourism turns in to a paseo only interrupts the daily habits and expecting knowledge from it, decreases to its least. That is, in our society the concept of tourism is closer to surfing and fun rather than exploring and learning. The first one, aims at the temporary spiritual state of human and the second one his knowledge and sustainable understanding. It is clear that in tourism, the second one, which is knowledge-oriented, happiness lies in alternative modes of travel and change but its purpose, is the development of the tourist’s insight and promoting his understanding in facing his predecessors’ experiences or nature.https://www.manzar-sj.com/article_10062_f892447540d0e840049183faa3109b1b.pdfNAZAR Research CenterMANZAR, the Scientific Journal of landscape2008-744662920150101Landscape Planning and
Tourism ManagementLandscape Planning and
Tourism Management343910063FAParvanehParchekaniPh.D Candidate in Tourism
Management, University of Science and CultureJournal Article20150707Tourism has been the tolls of economic, cultural, social and political exchange and interaction among different societies, and interaction among “human”, “environment”, “history” and “culture” have been solidifies objectively as possible. Articulation approach and managerial integration can be introduced in order to utilize resources and satisfy current requirements with protective and prospective view and also activities adjustment toward life improvement, ecological balance and tourism cultural identity can be a new paradigm with landscape planning practice in tourism scope. Tourism landscape is combination of deep link to human sensory and identity perception. In this study explanation of landscape planning as a new approach in sustainable tourism development, tourism management role and this scope trend during recent 50 years (1976-2014) are investigated with emphasize on necessity of landscape planning in tracking to meet the sustainable tourism target.Tourism has been the tolls of economic, cultural, social and political exchange and interaction among different societies, and interaction among “human”, “environment”, “history” and “culture” have been solidifies objectively as possible. Articulation approach and managerial integration can be introduced in order to utilize resources and satisfy current requirements with protective and prospective view and also activities adjustment toward life improvement, ecological balance and tourism cultural identity can be a new paradigm with landscape planning practice in tourism scope. Tourism landscape is combination of deep link to human sensory and identity perception. In this study explanation of landscape planning as a new approach in sustainable tourism development, tourism management role and this scope trend during recent 50 years (1976-2014) are investigated with emphasize on necessity of landscape planning in tracking to meet the sustainable tourism target.https://www.manzar-sj.com/article_10063_c9f2f917078bd2db12f23c3b413d9cba.pdfNAZAR Research CenterMANZAR, the Scientific Journal of landscape2008-744662920150101Environmental and Landscape Origins:Stimulus of
Rural Tourism
DevelopmentEnvironmental and Landscape Origins:Stimulus of
Rural Tourism
Development404510064FARezaSameh, Ph.D in Architecture, Faculty Member,
Imam Khomeini International University, Qazvin, Iran.0000-0002-0442-1000AsiehSamehPh.D Candidate in Architecture, Isfahan
University of Art, Iran.Journal Article20150707Iran has lots of valuable rural areas. Diversity of these villages and scattering of them based on biological variety, natural setting and cultural characteristics will cause in understanding their themes as potentials for tourism. This study plans how to achieve the appropriate incentive for tourism in rural areas which is in accordance with the real issues of the current thread in a rural environment. In this regard, we tried to primarily introduce the dimentions and capacity of a village in order to somehow justify whether it can be called as a background for visiting and jaunt. In the Following the issue of tourism as a conscious experience in an unconscious environment of village will be introduced with a special character that suggests a new way of dealing with a rural environment in this way, attention is paid to make an experience in order to lead The interactive effects of this conflict to the desired consistency in a worthy manner and by allowing the realization of both realities. This approach emphasizes the importance of the conscious question of the unconscious environmental learning that can be considered as an appropriate response in correspondence with the problems of today. As a result, it is noted that the experience to a largely decent depends on the understanding the essence of everything that happens in the rural component motifs and understanding the constitutive themes of it.Iran has lots of valuable rural areas. Diversity of these villages and scattering of them based on biological variety, natural setting and cultural characteristics will cause in understanding their themes as potentials for tourism. This study plans how to achieve the appropriate incentive for tourism in rural areas which is in accordance with the real issues of the current thread in a rural environment. In this regard, we tried to primarily introduce the dimentions and capacity of a village in order to somehow justify whether it can be called as a background for visiting and jaunt. In the Following the issue of tourism as a conscious experience in an unconscious environment of village will be introduced with a special character that suggests a new way of dealing with a rural environment in this way, attention is paid to make an experience in order to lead The interactive effects of this conflict to the desired consistency in a worthy manner and by allowing the realization of both realities. This approach emphasizes the importance of the conscious question of the unconscious environmental learning that can be considered as an appropriate response in correspondence with the problems of today. As a result, it is noted that the experience to a largely decent depends on the understanding the essence of everything that happens in the rural component motifs and understanding the constitutive themes of it.https://www.manzar-sj.com/article_10064_41bacf567aefc61b3076c74d8925128f.pdfNAZAR Research CenterMANZAR, the Scientific Journal of landscape2008-744662920150101Comparison of Tourist and
Pilgrim ConeptsComparison of Tourist and
Pilgrim Conepts465110065FAKambizNiknamPh.D Candidate in Tourism Management,
University of Science and Culture, Iran.Journal Article20150707Who is a pilgrim? Who is a tourist? Is the pilgrim the same as tourist or do they differ? What are the differences and similarities of these two words? Is pilgrimage a kind of tourism with special interests or distinct and different phenomenon? In spite of similarities and distinctions between tourism and pilgrimage and the individual’s ideology and motivation, the nature of tourists’ relationship, religions and spiritual places have been ignored. In this article, we are trying to answer these questions by philosophic comparison of these two cultural concepts, as well as analyzing and explaining logical framework of ideology and motivation of the tourists and pilgrims as different or similar phenomena to reach an acceptable conclusion. The words tourist and pilgrim contain different and contradictory concepts due to their exclusive cultural and natural specifications. The key issue is that pilgrimage and tourism are the subject of truth .Discovering and analysis of tourism is not a complex and a prodigious matter since tourism belonging is not objective, nor subjective, but is the composition of both. As a result, the approach to tourism can change from movement by locations to a knowledge oriented capacity. In subjective concept and unlike objective one, tourism is a kind of knowledge acquisition and a background for approaching the God, searching the truth and so forth. The final result is that the hypothesis is not absolutely true or false; but individual, social and perceptual (ideological) factors directly influence it and so it is proportional matter which demands it’ s own essentials.Who is a pilgrim? Who is a tourist? Is the pilgrim the same as tourist or do they differ? What are the differences and similarities of these two words? Is pilgrimage a kind of tourism with special interests or distinct and different phenomenon? In spite of similarities and distinctions between tourism and pilgrimage and the individual’s ideology and motivation, the nature of tourists’ relationship, religions and spiritual places have been ignored. In this article, we are trying to answer these questions by philosophic comparison of these two cultural concepts, as well as analyzing and explaining logical framework of ideology and motivation of the tourists and pilgrims as different or similar phenomena to reach an acceptable conclusion. The words tourist and pilgrim contain different and contradictory concepts due to their exclusive cultural and natural specifications. The key issue is that pilgrimage and tourism are the subject of truth .Discovering and analysis of tourism is not a complex and a prodigious matter since tourism belonging is not objective, nor subjective, but is the composition of both. As a result, the approach to tourism can change from movement by locations to a knowledge oriented capacity. In subjective concept and unlike objective one, tourism is a kind of knowledge acquisition and a background for approaching the God, searching the truth and so forth. The final result is that the hypothesis is not absolutely true or false; but individual, social and perceptual (ideological) factors directly influence it and so it is proportional matter which demands it’ s own essentials.https://www.manzar-sj.com/article_10065_ffa4eb0e32349ae57f7a0ee8c7cd7c11.pdfNAZAR Research CenterMANZAR, the Scientific Journal of landscape2008-744662920150101The Relationship between Understanding Cultural
Heritage Landscape and it`s Management Landscape of AncientThe Relationship between Understanding Cultural
Heritage Landscape and it`s Management Landscape of Ancient525710066FAZahraNadealipoorPh.D Candidate in Tourism
Management, University of Science and Culture,Journal Article20150707 Understanding symbolic and landscape values of a relic has a considerable effect on its preservation and management. Preservation of a historical site requires the understanding of its actual values and adapting planners’ and managers’ perceptions with such values. Shushtar Historical Hydraulic System (water mill), located in the city of Shustar, has been registered on UNESCO’s list of World Heritage Sites in 2009, as Iran’s 10th cultural heritage site. The city of Shushtar was one of the most important centers of Khuzestan in Sassanid era and it used to have a special position in this region. This historical city includes valuable relics and sites from ancient era including the historical Hydraulic System. Shushtar Historical Hydraulic System is among Iranian tourism attractions which enchants and invites most visitors from different parts of Iran as well as foreign countries. This paper investigates on landscape values of the site and their perceptions. Some proceedings such as letting ducks and fish in the site to enhance its attractiveness resulted in raising some questions: “Is perception of this historical landscape site in accordance with its actual values?” and “Which landscape is more dominant in the site?” Aiming to answer these questions, this research has been fulfilled by studying available historical literature and books about the history of the site as well as using observation techniques in 2014. Having presented the landscape definitions and its classification are presented followed by UNESCO’s definitions and classification of cultural landscape and its measures to register cultural sites on the list of the World Cultural Heritage, it can be concluded that perception of landscape values of the site is different from actual values to some extent according to the actual values of the relic which have been mentioned in the historical literature and have been confirmed by UNESCO, and also according to the evidences. Obviously recognition of symbolic values of the site and actual perception about such values has a positive impact on its conservation and can play an important role in planning and management of the site. Understanding symbolic and landscape values of a relic has a considerable effect on its preservation and management. Preservation of a historical site requires the understanding of its actual values and adapting planners’ and managers’ perceptions with such values. Shushtar Historical Hydraulic System (water mill), located in the city of Shustar, has been registered on UNESCO’s list of World Heritage Sites in 2009, as Iran’s 10th cultural heritage site. The city of Shushtar was one of the most important centers of Khuzestan in Sassanid era and it used to have a special position in this region. This historical city includes valuable relics and sites from ancient era including the historical Hydraulic System. Shushtar Historical Hydraulic System is among Iranian tourism attractions which enchants and invites most visitors from different parts of Iran as well as foreign countries. This paper investigates on landscape values of the site and their perceptions. Some proceedings such as letting ducks and fish in the site to enhance its attractiveness resulted in raising some questions: “Is perception of this historical landscape site in accordance with its actual values?” and “Which landscape is more dominant in the site?” Aiming to answer these questions, this research has been fulfilled by studying available historical literature and books about the history of the site as well as using observation techniques in 2014. Having presented the landscape definitions and its classification are presented followed by UNESCO’s definitions and classification of cultural landscape and its measures to register cultural sites on the list of the World Cultural Heritage, it can be concluded that perception of landscape values of the site is different from actual values to some extent according to the actual values of the relic which have been mentioned in the historical literature and have been confirmed by UNESCO, and also according to the evidences. Obviously recognition of symbolic values of the site and actual perception about such values has a positive impact on its conservation and can play an important role in planning and management of the site.https://www.manzar-sj.com/article_10066_955fd82131e15e7b5199cbc8f983306a.pdfNAZAR Research CenterMANZAR, the Scientific Journal of landscape2008-744662920150101The Color of
Persian Landscape
The Position of Color in Iran’s Tourism BrandThe Color of
Persian Landscape
The Position of Color in Iran’s Tourism Brand586510067FAMehrnooshBastenegarPh.D Candidate in Tourism
Management, University of Science and Culture,
Faculty member of the Institute for Technology
Development (ACECR)0000-0003-2704-6386Journal Article20150707Abstract | Brand creation for destinations has been a common practice among different countries to make differentiation and special position in managing the image of their destinations and developing the tourism industry owing to people’s tendency to make mental images from their smallest interactions and memories. These images are collections of observations, statements and travel experiences that create values. By seeing the brand of that destination, those images will become alive again in mind and causes the decision to travel to that destination among the people of other countries. The tourism brand must be chosen according to the realities within a logical base. It must be an expression of cultural features of the country and its people and carry human and social values. It must be a set of unique recalls that would be understood in each unchanged facing. The national brand of tourism must be emerged deep inside the culture, history and geography of a nation. It must be distinguished, sustainable and believable, attractive for all stakeholders and demonstrate its true position in all communications and interactions. To this end, the national tourism brand of Iran must be the resultant of its cultural, historical and natural heritage and also of its tourism attractions. Color has a symbolic meaning in human life. It is both a subjective and objective phenomenon that can be inspiring and interesting. It could carry deep concepts and important messages for the audience. In this research, the place and meaning of color in Iranian culture, history, art and civilization are investigated. Colors have been carried the outlook and attitude of Iranians from ancient times. They have used colors in carpets, architecture, painting, literature and traditions. The colors are blended with their attitudes toward the epistemological concepts and are something more than aesthetical means. The current research finds out that the national tourism brand of Iran, a country with a relative advantage of its distinguished nature and ancient civilization, cannot be designed without a colorful symbol. The vivid nature and colorful gardens are another evidence for this claim. Based on the studies carried out during the research, the following recommendations are provided for the color of the national brand of Iranian tourism. The verification of these recommendations needs another complementary researchAbstract | Brand creation for destinations has been a common practice among different countries to make differentiation and special position in managing the image of their destinations and developing the tourism industry owing to people’s tendency to make mental images from their smallest interactions and memories. These images are collections of observations, statements and travel experiences that create values. By seeing the brand of that destination, those images will become alive again in mind and causes the decision to travel to that destination among the people of other countries. The tourism brand must be chosen according to the realities within a logical base. It must be an expression of cultural features of the country and its people and carry human and social values. It must be a set of unique recalls that would be understood in each unchanged facing. The national brand of tourism must be emerged deep inside the culture, history and geography of a nation. It must be distinguished, sustainable and believable, attractive for all stakeholders and demonstrate its true position in all communications and interactions. To this end, the national tourism brand of Iran must be the resultant of its cultural, historical and natural heritage and also of its tourism attractions. Color has a symbolic meaning in human life. It is both a subjective and objective phenomenon that can be inspiring and interesting. It could carry deep concepts and important messages for the audience. In this research, the place and meaning of color in Iranian culture, history, art and civilization are investigated. Colors have been carried the outlook and attitude of Iranians from ancient times. They have used colors in carpets, architecture, painting, literature and traditions. The colors are blended with their attitudes toward the epistemological concepts and are something more than aesthetical means. The current research finds out that the national tourism brand of Iran, a country with a relative advantage of its distinguished nature and ancient civilization, cannot be designed without a colorful symbol. The vivid nature and colorful gardens are another evidence for this claim. Based on the studies carried out during the research, the following recommendations are provided for the color of the national brand of Iranian tourism. The verification of these recommendations needs another complementary researchhttps://www.manzar-sj.com/article_10067_792dd774336314c3c27a04bb260cf2cf.pdfNAZAR Research CenterMANZAR, the Scientific Journal of landscape2008-744662920150101Touristic Nature of
Landscape*
From Pittoresque to SustainableTouristic Nature of
Landscape*
From Pittoresque to Sustainable667010068FASeyed Mohammad-BagherMansouriPh.D
Candidate in Architecture, University of Paris EST
smb.mansouri@gmail.comJournal Article20150707What has turned “nature” into a landscape and a tourism destination has transformed over time and comprised various aspects in different definitions. Landscape Definitions have considered nature as a tourism destination in multiple points of view. Four main viewpoints are debatable in a time period from the first landscape definition till today. The first definition discusses the pictorial and scene setting aspects and the image formed in tourists’ minds. In the second definition, landscape is defined as a tourism context rather than destination. This viewpoint considers nature a tourism destination as a shelter for citizens. The third viewpoint to nature in terms of landscape refers to naturalistic understanding of the world which is mostly discussed in France’s academic societies. Lately, the aspects of landscape viewpoint to nature address sustainable development goals and activities for the protection and fair utilization of the environment. According to the mentioned issues, nature tourism is sometimes defined on the basis of existing viewpoints or as a compilation of resulted viewpoints from the landscape discipline. Natural or cultural landscape tourism is shaped due landscape viewpoint to the nature which is developed and transformed according to landscape definition.What has turned “nature” into a landscape and a tourism destination has transformed over time and comprised various aspects in different definitions. Landscape Definitions have considered nature as a tourism destination in multiple points of view. Four main viewpoints are debatable in a time period from the first landscape definition till today. The first definition discusses the pictorial and scene setting aspects and the image formed in tourists’ minds. In the second definition, landscape is defined as a tourism context rather than destination. This viewpoint considers nature a tourism destination as a shelter for citizens. The third viewpoint to nature in terms of landscape refers to naturalistic understanding of the world which is mostly discussed in France’s academic societies. Lately, the aspects of landscape viewpoint to nature address sustainable development goals and activities for the protection and fair utilization of the environment. According to the mentioned issues, nature tourism is sometimes defined on the basis of existing viewpoints or as a compilation of resulted viewpoints from the landscape discipline. Natural or cultural landscape tourism is shaped due landscape viewpoint to the nature which is developed and transformed according to landscape definition.https://www.manzar-sj.com/article_10068_a4982cba8b4cbeb32a439f0367273fc8.pdf