سید مصطفی مختاباد امریی

Regionalism is an analytical and critical perspective which focuses on preserving special features of place and attempts to fill the vacuum in architecture. Globalization is a complex multi-stage process that causes increasing complexity of time and place, greater awareness across the global and acceleration of cross cultural interactions. Therefore, the present paper attempts to analyze global-regional interactional approach through investigating contemporary Iranian architecture in relationship with the aforementioned phenomena and also tries to provide practical advice on establishing a constructive interaction. The research methodology is based on content analysis and case study. The results obtained from investigating striking cases of 4 eras of contemporary Iranian architecture and presented as a table of global-regional interaction components (physical, semantic and ecological) show that an interactional approach is becoming increasingly popular and global-regional coexistence is being formed in contemporary Iranian architecture, which associates with spirit of time and its regional components. A dynamic presence and playing a componential role by contemporary Iranian architects in this interaction have some prerequisites: an understanding of contemporary pluralism, an understanding of the other and establishing interaction, emphasis on the role of thought, creation and innovation, objective research, a good understanding of identity and place, past recall and identifying components of Iranian architecture.

Islamic and Iranian cities, both, East and West, know the physical monuments of Islamic culture1 based on one of the features of the Islamic cities. Meanwhile, other religious centers, including Tkaya, Hosseiniyehiyeh and hospice is not the case to considerate, while these elements cause to shape group behavior, strengthen social ties and strengthening of cultural integration, have always played a major role. These reasons reflect the role of the religious and their religious mission to, Imam Hussein: have been lasting and eternal ever. On the other hand, religious buildings, including mosques, Hosseiniyehiyeh, the convent, the grave and so for various reasons such as “governing their spirituality,” “Historical Background”,“architectural style” and “cultural works - social among people of the past had been of special aspects “sanctity”. Materials and Methods, “descriptors” and “analytic” in addition, with reference to theories and models of sustainability and sustainable urban spaces using “argument” and “analog” to review these theories and extend them to Hosseiniyehiyeh and Tkaya discussed and some results in this direction are mentioned. Research findings show the survival of Tkaya and Hosseiniyehiyeh beliefs, beliefs, customs and religion of citizens, especially their integration with the components is related to religious values and reflecting the traditional city is based on the formation of beliefs is that survival, Protection and maintenance Hosseiniyehiyeh paid actor and in which viewers of this show and passionate Hosseiniyehi mourning single entity to have formed; If due to the impact of beliefs and opinions of people throughout history has been a Hosseiniyehiyeh as a phenomenon of religious values and that its inclusion has been persistent throughout history and reflect the beliefs of religious people and the world towards Imam Ali, Imam Hussein: future date will remain the eternal.

By its academic-aristocratic approach at the beginning, and the mere artistic vision of art afterwards, Beaux Arts had become the cottage of hopes and dreams for art-lovers and artists from Iran and all around the world. Accordingly, Iran, like many other countries, has had consecutive associations and interactions with these schools, especially beaux-arts school, in qualitative and quantitative dimensions “Beaux-arts” school has had an extraordinary expanded character among classical educational schools in Italy and Germany and has played a positive and rooted role on art education world. What was going on continuously in E’cole for many years was nothing but a stone sinking in a pond, whose inevitable waves’ beams affected the whole pond. Art Education was the pond, Beaux Arts the stone. E’cole de Beaux-Arts set up the starting point of many artistic, educational and political events in the domain of art education. So, may we assume Beaux-Arts as the starting point and the godfather of most of Iranian art education systems? Exامینing this subject in the context of art education history can be done through various methods. Historical periods, geopolitical entities, nationalism, international network of effects, and subjects orthemes each can have a framework or composition for forming the international history of art education. This article sets to express France’s E’cole de Beaux-Arts Education historically, and tries to assess the deep qualitative and quantitative influences of the E’cole on Iran’s Art educational system, especially on architecture education, by gathering information through well-known artists and graduates of Beaux-Arts.

Because of the dispersion of activities in big cities, employing highways as the most important connecting way is indispensable. In today world, highways are connection arteries of cities transporting people to their social activities. Because of continual use of highway, their walls prepare a context for conveying many Social, Cultural, Economic, etc concepts. That is why most economic promotions,communication of social concepts and cultural teachings are provided on highways walls and margins.In few recent years, given the same potential, highway walls has created a site for appearance of street art. Street art is demonstration of author’s personal signs on the walls and public places of the city and public audience decode the concepts embeded in the text of that art. Currently Tehran municipality, in a general policy, tried to spread and pay attention to street art particularly in the highways contexts. In this paper, we classify these designs on Tehran highway walls while indicating present examples and interpret the concepts lying in these designs from a semiotic view point.

Today, most of the big cities or metropolises around the world have been encountering with the problem of informal habitation. The present study, thus, tries to focus on the role of endogenous development in such type of habitation process. For that matter, the paper takes into account architectural programming and urbanism as its theoretical framework because the endogenous development is related to new ways of architecture and urbanism. For a society, exogenous or vertical development and Endogenous or people are two main developmental processes. The current study tries to show as how the endogenous development solves the informal habitation problem. At first, the study analyzes the meaning of habitation, exogenous and endogenous development and then determines how the endogenous development, which is based on sustainable development, help peoples deal with their problems. The methodology applied in this study is analytical, combined with qualitative (from the case study to the theory) and quantitative (from the theory to the case study) researches. Explaining seven factors, the study concludes that the endogenous development has key role in solving the informal habitation problems.

Kiarostami’s unfinished cinema emphasizes the importance of audiences’ involvement in a movie by using postmodern images. Some essential points of critically reading his, so-called half-created cinema, could be summarized as self-reflexive style, diagrammatical perspectives, in-between narratives,and Individual minimalism. The main postmodern achievement of this cinema is focusing on the process of creating meaning through the experience of film. Furthermore, the close-ups function as separate independent units that are constantly generating their implicit affections. In this respect, Kiarostami’s unusual works are interpretable by Deleuze’ some neologism like affection-image. The films are some affective micro-dramas formed in a gap between the audiences’ receptions and the close-ups. Despite their postmodern reflections, unfinished movies have no strict disciplines that may limit the process of creating meaning. This paper attempts to present a new approach of reading Kiarostami as an increasing global interest.