The Role of Public Art in Organizing Citizens' Spatial Perception; An Analysis of the Locating and Function of Rural People's Sculptures in Rasht

Introduction: The city, as a spatial and social phenomenon, is defined by its physical markers, sense of place, and cultural depth. In this context, urban art—especially public sculptures—has a dual function: as carriers of spatial meaning and symbols, they visually organize the environment while also conveying cultural narratives. This research aims to investigate the role of rural-themed sculptures in Rasht, considering them as key elements of urban art that influence citizens' spatial perception and contribute to the strengthening their sense of place attachment. The study seeks to answer the following pivotal questions: Do these sculptures function as cognitive and identity landmarks in urban space? How do the spaces imagined by their designers align with the lived experiences of the citizens? And through Barthes' semiotic lens, what cultural and ideological discourses do these sculptures perpetuate? The main objective is to examine the location, function, and impact of these artistic elements on residents' spatial perception, while also evaluating their effectiveness in enhancing the sense of attachment to the city’s urban environment.
Methodology: This study employs a combination of qualitative and analytical-critical approaches, and utilizes field observation, visual analysis, and symbolic content analysis.
Results: Only through citizen participation, cultural authenticity, and critical dialogue can these sculptures become effective tools in strengthening attachment to place and a dynamic urban identity.
Discussion: The findings indicate that although the sculptures of villagers in Rasht are ostensibly designed as media and identity-building elements to enhance a sense of place belonging, in practice, their lack of alignment with citizens' lived experiences, spatial integrity, and respect for diverse discourses has limited their impact on deeper levels of place identity. To increase the effectiveness of these elements in strengthening the sense of place attachment, it is essential that the process of designing and placing them takes into account citizen feedback and is reproduced in a participatory and culturally diverse approach.
Conclusion: 
Table for Analyzing Rural People's Statues in Rasht City Using Kevin Lynch's Approach




Lynch's Theory Elements


Characteristics of Rural Statues in Rasht


Current Status


Impact on Spatial Legibility


Improvement Suggestions




Landmarks


Height: 1.5 to 2.5 meters
Visual elements: Straw hat, fishing basket, and sickle. Location: Squares, parks, and bridges


Some are weak to moderate, some are low in height, and some are in low-traffic areas.
 


Limitations: Only detectable in specific areas. Lack of 360-degree visual access.


Increase the height to at least three meters. Install in strategic locations. Improve visual accessibility.




Paths


Installation Location: City Hall Square, Golsar Bridge, and Farhang Square. It is connected to high-traffic areas.


Weaknesses: Some main exterior routes. Lack of connection to pedestrian paths.


Limitations / Ineffective Role in Way-finding: Failure to Create Narrative Paths


Install along high-traffic routes. Creation of pedestrian walkways. Connection to the urban navigation system




Nodes


Key locations: City Hall Square and major intersections.
Role as a focal point


Some are located in central areas, some in important nodes, and some in peripheral areas.


Incoordination and lack of creating a coherent network, as well as spatial dispersion


Focus on installing the main nodes. Create identity clusters. Connect the nodes together.




Districts


Representation of Rural Culture/Creating a Sense of Place in Public Spaces


Weaknesses:
- Lack of a separate area
-  Lack of connection between sculptures


Limitations or failure to create a sense of regional identity. Failure to strengthen place memories.


Creating distinct identity zones.
Creating meaningful connections between sculptures. Designing a region-based approach.




Edges


Position at spatial boundaries and connections to urban entries.


Weakness: More in spatial centers, and less in meaningful places.


Very limited or unsuccessful definition of urban boundaries.


Install at city entry points. Define meaningful boundaries. Create transition points.