مطالب

This paper deals with the concept of “residential models” and the role it plays on human relations in residential complexes. It intends to; review the concept of residence; understand how a residential model takes form; the influence of a residential model on future human interactions. To this end, having reviewed comments and viewpoints, focused on “what is residence? which factors may create the sense of residence and how an individual can choose his/her place of residence? Finally what are the factors affecting their choice”. Then two residential models analyzed: balanced and unbalanced, and their effects on human relations. Afterwards the research hypothesis was posed: “residential model is an effective factor on human relations”. Whereas the above study is limited to a small number of complexes in Tehran, for the purpose of testing the hypothesis and, in turn, for determining sample population, the residential complexes were classified into three categories in terms of facilities, features and characteristics. From each category a sample was chosen for testing the hypothesis. It was eventually decided to test the hypothesis in Ekbatan, Behjatabad and Farhangian residential complexes. The results indicated a strong relationship between residential model and its impact on human relations: more balanced the residential model, stronger effects on human relations. On the other hand, more unbalanced the residential model, weaker effect on human relations.

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.