نقش طراحی گرافیک در بازطراحی فضاهای شهری مطالعه موردی: پروژه بازآفرینی پیاده‌راه فرهنگی شهرداری رشت

Introduction: 
Today, environmental graphics are known as one of the most effective tools in the fields of advertising, message transmission, and the dissemination of political, social, and cultural knowledge. In developed societies, this field of visual arts is considered a fundamental pillar of urban system structure. Environmental graphics refers to a set of visual elements and signs that are used in public spaces to facilitate, guide, and enrich urban pathways, functions, identities, and experiences for citizens and users of space. The aim of this art is to create visual order, increase spatial legibility and convey cultural, social and functional messages in urban spaces, and for this reason it has gained a prominent role in urban design.The concept of “urban regeneration” as a strategy for intervening in inefficient urban fabrics focuses on the physical, social, economic, and cultural revitalization of cities. Urban regeneration is a multidimensional process that seeks to breathe new life into worn-out or underused urban areas by improving the quality of space, preserving urban heritage, empowering residents, and enhancing social vitality. In this context, environmental graphics can play a decisive role in improving the spatial quality and identity of regeneration projects.An example of an urban intervention in Iran, in which the role of environmental graphics can be examined, is the regeneration project of Rasht Cultural Pedestrian Zone. As a cultural hub in northern Iran, Rasht, relying on its rich historical context, dynamic social space, and unique geographical location, provides a suitable platform for testing new ideas in urban design. The city's cultural pedestrian zone, located adjacent to the Municipality square and the historic bazaar, has been redesigned in recent years to become an interactive, tourist-friendly, and identity-oriented environment. Environmental graphics play a key role in shaping the identity of this space, creating visual harmony, facilitating social interactions, and attracting diverse audiences. Investigating the role of graphic design in the redesign of urban spaces, focusing on the Rasht Cultural pedestrian zone, provides insights into the visual capacities of urban regeneration and provides a practical model for other cities. 
Methodology: This study is conducted with a qualitative and case-study approach and with an interpretive methodology, with an emphasis on visual content analysis and user experience. The statistical population includes citizens, tourists, urban managers, and designers involved in the Rasht Municipality Cultural pedestrian zone Reconstruction Project. Participants were purposively sampled based on their awareness and involvement in the project, including graphic designers, urban managers, and pedestrian zone users. Data were collected through field observation of graphic elements (such as color, typography, signage, and other graphic components), semi-structured interviews with 30 passersby, 3 project designers, and 4 municipal officials, and analysis of relevant documents and images (including maps, graphic designs, and before-and-after reconstruction photos). Data analysis was conducted using qualitative content analysis, thematic analysis of interviews, and visual analysis of graphic elements in the space.
Results and Discussion: Based on a mixed research method (including field observation, visual analysis, semi-structured interviews, and document/image review), the findings are organized into four analytical axes:
Signage and wayfinding system: Interview analysis shows that the design of signs and wayfinding systems has significantly improved spatial legibility and facilitated navigation. Almost 70% of passersby reported that it was easier to find their way around and found the use of local forms and colors both understandable and visually pleasing. The designers emphasized the localization of signs inspired by local culture and architecture. However, challenges such as the lack of maintenance guidelines and the wear and tear of some elements were noted by authorities and users.
Urban Identity and Branding: Graphic elements such as Gilaki poems, images of local celebrities, and local color schemes strengthened the sense of attachment and recognition of local identity among users. The project demonstrates a form of local branding, with the designers’ main strategy being to combine tradition and contemporaneity.
Exhibition Design and Spatial Narrative: The pedestrian space functions as a platform for urban narratives. The use of narrative panels, visual timelines, and cultural elements creates an interactive and thought-provoking experience. Interviewees emphasized that this narrative enhanced emotional engagement, increased pauses, and facilitated informal learning about the city’s history and culture. This approach is consistent with theories of spatial narrative and interactive space design.
Goals of urban regeneration: Officials, designers, and users perceived the graphic design as not merely decorative but purposeful and meaningful. Three primary goals were achieved: beautification, identity creation, and improved user experience. The space is described as pleasant, safe, and meaningful, with social dynamism and increased social capital as key outcomes. These results highlight the strategic potential of environmental graphics in urban regeneration. Conclusion: This study demonstrates that environmental graphic design can function as a strategic tool in the regeneration of urban space beyond decorative or promotional purposes. The Rasht Cultural pedestrian zone project, by incorporating local and meaningful visual elements, is an example of the interaction of graphic design, cultural identity, and user experience. Field observations revealed the integration of wayfinding signs with traditional Gilaki motifs, short local poems in proximity to wall graphics, and images of local figures such as Mirza Kuchak Khan and Dr. Heshmat. These elements, while transforming a passageway into a narrative and meaningful space, enhanced urban identity and branding. Directional signs, using warm local colors, simple arrows, and legible fonts, were positively rated by 70% of passersby interviewed and facilitated access to cultural sites such as the Kolah Farangi Building, Gilan Culture House, and the Sanaei Handicrafts Bazaar. Short Gilaki poems on walls, alongside graphic motifs inspired by local costumes (e.g., Golabtundozi, geometric Shamseh), elevated the user experience from a mere transit corridor to a cultural space. Visual timelines that narrate the history of Rasht from the Qajar period to the present day are installed along the sidewalk, encouraging interaction and pause, especially near the city council and Mosalla Square. The project successfully transformed this space from a simple transportation route into a meaningful urban place characterized by perceived security and social dynamism. Indicators of success include the continued presence of citizens, especially women, children, and the elderly; the presence of street artists and handicraft vendors; and the growth of cafes and bookstores along the sidewalk. Overall, the Rasht Cultural pedestrian zone Project demonstrates that when based on context-based, identity-based, and participatory design, environmental graphics can serve as a structural tool in urban regeneration. By harmoniously combining traditional and contemporary, functional, and aesthetic elements, the project provides a model for other cities in Iran.