The Analysis and Study of Spaces of Kiarostami’s Cinema from the Viewpoint of Genius Loci with the Phenomenology Framework of Christian Norberg-Schulz

In the wake of anthropocentric thinking of Descartes, humans and the artificial environment built by him or her and the way of dwelling his or her in that, causes generation challenges, discussions and leads to review the relationship between mankind and his or her environment. It seems that our new surrounding doesn’t care about human’s feelings, psychological or mental needs. It just focuses on functional matters. As a result, human is becoming more unfamiliar with the contemporary architecture, also we got lost in the world and we missed the meaning of space and being- in- the world. We lost sensory meanings related to the world: the ground, the sky, the air, and the world. Architecture is fairly implicated in this loss. On the whole human and the world surrounding him, divided into two separate components, highlighting the optic phase of the contemporary environment, the separation becomes more obvious. Lots of phenomenologists like Heidegger and Husserl tried to eliminate this gap and redefine the
relationship between mankind and his environment instead of facing them against each other. Heidegger with his phenomenology method and following him Christian Norberg- Schulz are the main leaders of this review and focus on the unity of mankind and his world. This research has a qualitative approach. With the philosophical framework of phenomenology and the help of the research model abstracted from theoretical foundations, it tries to understand Identity and indicators of it in enhancing the perception of the environment. For this purpose and with the aim of the research model abstracted from the theoretical foundations, indicators of identity have been examined in three important and related movies: Through the Olive Trees, Where Is the Friend’s Home? and Life and Nothing More. Results of this review show us that Essential elements in feeling genius Loci and identity in Kiarostami’s cinema are: selecting naturalistic and rural spaces, using distinguished symbols of Iranian culture and architecture (symbolization), long shots that show arranged orientation and combination architecture and nature and showing routine everyday activities which maintain the relationship between human and place.