【正文】 legal and institutional arrangements for the Tehran municipality, allowing the Ministry of Housing and others to work together in managing the growth of the most important step taken in planning was the approval of the Tehran Comprehensive Plan in was produced by a consortium of Aziz Farmanfarmaian Associates of Iran and Victor Gruen Associates of the 武漢科技大學(xué)本科畢業(yè)設(shè)計外文翻譯United States, under the direction of Fereydun Ghaffari, an Iranian city planner(Ardalan, 1986).The plan identified the city’s problems as high density, especially in the city centre。 in 1976(Kariman, 1976。its size grew from 46 km178。該憲章主要采納了可持續(xù)性和民主性原則，被用于開發(fā)自然和處理環(huán)境、交通、社會、文化、經(jīng)濟問題、城市管理戰(zhàn)略、區(qū)域性城市，國家和國際角色。這個時期的重建爭議隨著民主的改革而產(chǎn)生，它重新啟動了城市市議會的選舉，這首先造成了市長和市政府關(guān)系的制度混亂。在較貧窮的南部，一個大型的重建項目Navab穿過密集而破舊的建筑物建造高速公路，建立龐大的上層建筑的各個方面。開發(fā)者可以通過向市政府繳納罰款建立更高的建筑物，而不必考慮對周圍環(huán)境的影響，這個政策俗稱“密度銷售”。然而，這并非基于規(guī)劃的考慮，主要是為了使市政當局的財政獨立。開放城市的大部分地區(qū)使之得到新的發(fā)展以緩解全城的運作。然后市政府對城市的未來遠景概述了六個主要特征：一個清潔的城市，建設(shè)便于運動的城市公園和綠化帶，新的文化和體育設(shè)施，改革發(fā)展的城市組織，以及對城市空間的改善，包括土地利用和保護的全面和詳細的計劃的編制規(guī)劃(Shahrdarie Tehran, 1996)。它強調(diào)對一個城市提出戰(zhàn)略和政策來實現(xiàn)他們的第一個規(guī)劃，而不是以介紹土地利用規(guī)劃為目標。1993年的計劃不受市政當局歡迎，不同意它的估價和優(yōu)先次序，認為它不現(xiàn)實、昂貴、無法實施。它促進保護、權(quán)力下放、多中心發(fā)展，有五個衛(wèi)星新市鎮(zhèn)，并發(fā)展住宅增加城市密度。經(jīng)過多次延遲，在1993年，該計劃最終被城市規(guī)劃高級理事會批準。綜合計劃的25年壽命在1991年結(jié)束。綜合計劃在革命后遭到攻擊，因為它被認為無法適應(yīng)變化。這期間見證了德黑蘭城市規(guī)劃的若干努力。從20世紀50年代城市人口的增長速度已開始減慢，而直到80年代中期首都的增長都更快，但是它的增長率也開始下降（Khatam, 1993）。在此期間主要規(guī)劃干預(yù)是對白天城市中心的私家車活動的限制。革命是在與伊拉克長期戰(zhàn)爭（19801988）之后，其間停止了經(jīng)濟的發(fā)展。然而，無論革命的態(tài)度還是他們掌握政權(quán)之后的一系列重大問題，包括城市發(fā)展都顯示出現(xiàn)代化的偏好。像1906年的革命一樣，許多隱藏意見的累積使1979的革命成為可能。德黑蘭和其他城市經(jīng)過兩年大量實證，1979年有代表性的是一個革命的到來推翻了伊朗君主，由議會共和制和神父統(tǒng)治的不穩(wěn)定結(jié)合所取代。在20世紀70年代進行的其他主要規(guī)劃工作包括Shahrak Gharb的局部發(fā)展新城鎮(zhèn)，以及Shahestan依照英國顧問Llewelyn–Davies提出的規(guī)劃新的城市行政中心，雖然這被當做正在上升的革命浪潮后來從未實施過。在不同地區(qū)的社會管理和物理性質(zhì)的基礎(chǔ)上進行區(qū)劃。這些思想依然存在，但是，主要是在紙面上。另一個在英國新城鎮(zhèn)被使用的概念，比如Redditch和 Runcorn，是把公共交通路線作為城市的骨架的重要性，其停車點是它的重點服務(wù)中心。這很像Ebenezer Howard’s（1960年，第142頁）提到的，那個四周被園林城市群包圍著的中心城市：“社會的城市”。幾乎所有這些措施可以追溯到那個擁有時尚規(guī)劃理念的時代，這主要是受英國新城鎮(zhèn)的影響。過境路線的站點會迅速發(fā)展為活動度高居住密度高的節(jié)點。每個社區(qū)有大約5000居民，有一所小學(xué)和一個當?shù)氐纳虡I(yè)中心。各個地區(qū)（mantagheh）將分為若干區(qū)域（nahyeh）和社區(qū)（mahalleh）。設(shè)想這個城市的未來可向西形成一個線性多中心的形式，減少密度和市中心的擠塞情況。解決的辦法是城市自然社會和經(jīng)濟結(jié)構(gòu)的轉(zhuǎn)型。它是由一個伊朗規(guī)劃師Fereydun Ghaffari領(lǐng)導(dǎo)下的美國的Victor Gruen和伊朗的Aziz Farmanfarmaian所共同產(chǎn)生的（Ardalan，1986）。還有他一系列法律，以支持德黑蘭市的新的法律和體制安排，使住房和其他管理工作在城市中發(fā)展起來。有許多事情迫切需要做，但市政府并沒有法律上或經(jīng)濟上有能力處理這進程。這加強了社會的孤立性，破壞了郊區(qū)的花園和綠地，并使城市管理者的感到無能為力。房屋一直供不應(yīng)求，并有大量可用的富余勞動力和資本，因此在德黑蘭建筑行業(yè)蓬勃發(fā)展，土地和財產(chǎn)的價格不斷上漲。德黑蘭的角色是國家的行政，經(jīng)濟，文化中心，它堅定而鞏固地通往外面的世界。20世紀60年代的土地改革釋放了大量來自農(nóng)業(yè)的農(nóng)村人口，這是不能吸收的指數(shù)人口增長。從石油行業(yè)的收入增長創(chuàng)造的盈余資源，需要流通和經(jīng)濟的吸收。隨著高出生率和農(nóng)村向城市遷移，德黑蘭和其他大城市增長加劇甚至比以前更快地。第二次世界大戰(zhàn)后，在盟軍占領(lǐng)國家的期間，有一個時期的民主化，在冷戰(zhàn)時開始的政治緊張局勢之后，它們互相斗爭對石油的控制權(quán)。第一章：德黑蘭市的發(fā)展德黑蘭：一個大都市的建造，第一章：德黑蘭市的發(fā)展，書號：0471957798，紐約John Wiley出版社，1998，第五頁到第十一頁。and,shows us the historical ages and those who have journeyed through an architecture is built up in harmony with its stragglers whoare still constructing the archetypes of the 20th century are diachronically ill, is know it to be mortal and endangered as sure as weknow it is so we watch it emerging from the darkness and imagine that it will returnthere one architectures of situation,of the specific,the Louisianan architecturesweave bonds between the past and the future,the mineral and the vegetal,theinstantaneous and eternity,and the visible and the are the loci of emergence and distil the essence of their own slow,poignant consciousness of time overlays the surprises of the new lives lived in theplace,the great rhythms of dawn and twilight,the indifference of the inevitablehours of idleness and decay...Louisianan architectures are dreamed architectures,full of silences－notonly places of forgetfulness but also of bee the cue for reinterpretations of an ambivalent architectures move us because they have been dreamed into life,insecurity,resistance and sometimes despair。can let you read the topography,the lay of the land。andto work with imperfection as a revelation of the limits of the architectures that kill emotion are not are the 武漢科技大學(xué)本科畢業(yè)設(shè)計外文翻譯work of globetrotting artistarchitects,princes of repetition,specialists in the perfect,dry and perennial detail that are the true confession ofemotional impotence!The repetition of the‘controlled’detail is proof of their insensitivity to thepossible nature of an architecture in the construction is used as misconstruction!Weight and emphasis are understood as vectors of architectural pedantry!The detail－like the totality－is an opportunity to invent,dislocate,enrichthe world,repose,reassemble and provoke confrontations of textures,lightand unlikely generic detail,like generic architecture,manifests the an absence of doubt that takes no risks and holds back as far as possiblefrom the limits of the feasible and vocation is to exist and sell itselfeverywhere,spreading uniformity and killing differences in order to are in the domain of simplistic thinking－of the systemic,the are far from the sine qua non of seduction:the architecture that creates singularity in duality and is invented through theconfrontation with a situation is opposes the attitudes of these artistarchitects who follow a recipe ofrepeating a kind of formal order passed off as the‘signature of the artist’.Itopposes what can be dropped down on the landscape on any occasion in any global phenomenon perpetuates an artistic tradition of the 20th centuryart that is in essence unsituated,dislocated and designed to take its place amongthe mathematical white boxes of the these works of art that can function in isolation,autonomousarchitectures are doomed to the status of static interference,absurd collages andsudden sneezes that disturb their surroundings。when we shop in cloned shopping centres,work behind the same eternalcurtainwalls...and,when whatever aspects of these factors that might be positive are notpartofglobalpriorities...Why,for instance,shouldn’t education eradicate illiteracy more quickly andsurely?Why doesn’t the medicine that saves the victims of pandemics get to them intime?Architecture is by no means spared of these new conditions of an efficient,profitableworld increasingly marked by an ideology delivered as the ba