عنوان مقاله [English]
Introduction: Urban symbols and signs are an integral part of analyzing and reading of the morphology and meaning and the different layers of the city, but reading urban signs without taking into account the context and context in which the sign is located and the interaction of this sign with other signs outside and have their own content; Both residents and citizens who consume the urban symbol, the history of the events that the urban symbol experiences is impossible. The analysis of the semiotics of the Milad Tower is consistent with the study of the events and developments that have taken place in recent years and decades in the country’s politics and administration and manifested in the urban context and in a symbolic format.
Methods: This research uses the semiotic method of Roland Barthes to re-read and reinterpret the Milad Tower in order to understand and recognize these changes and developments. Roland Barthes clarifies the relationship between primary meaning and secondary meaning or myth in two parts. He insists that he makes his mythic signifier ambiguous: The signifier is synonymous with the same form; it is full on one side and empty on the other. The significance of this statement is that the military salute of a young black man is a tangible reality and, more importantly, it belongs to history. The young black man had a special life before he joined the military, and unless myth takes hold of him and turns him into a parasite, he is completely self-sufficient and has meaning. Barthes suggests that the mythological signifier is full of meaning and points to that historicity, but when the meaning is transformed into a form, it becomes empty.
Finding: If we want to consider the mythology of Milad Tower in terms of meaning and form, and consider the mythological signifier consisting of meaning and form as a cohesive whole, then we consider Milad Tower as a telecommunication tower serving the development of urban communication and telecommunication infrastructures. Let us assume that it is to respond to the communication services of Tehran citizens. This meaning of the tower was the primary goal and also something that was included in the goals of the tower and the intentions of its builders. But this meaning has undergone distortion in the process of taking shape and subsequent myth-making. It has become a commercial, entertainment, and restaurant center, and in some ways a base for consumption and luxury that has become a form. It is this packaging that forms the myth of Milad Tower and shows consumption and luxury in this myth. This meaning and form does not hide or conceal itself in any way, but it is the appearance and interior of consumption that make up the ideological aspect of this myth. As a myth of consumption, Milad Tower, in addition to the ideological dimension of consumption, requires supervision and diligence to advance the project for which it is responsible. The height of this tower is like a nose that watches over the consumption behavior of citizens. Surveillance in the form of eyes and looks and waiting for more consumption and the display of this luxury is always demanded and desired by society and the tower as a whole between all these behaviors. This is a terrible control system in the form of consumption and trying to keep up with the caravan that dominates and monitors society.
Conclusion: The results of this research show that consumption and luxury are the orders that adorn the myth of Milad Tower, and like the omniscient who has the power to control and inject norms from above, consumption has ruled over society and led the people of society to this value, and those who do not follow this rule are held accountable. Urban identity in Tehran is thus shaped by consumption and myth-making around the Milad Tower and by becoming a part of it, which drives many people out of this sense of belonging.