مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 6 22 2025 11 22 Representation of the Narrative of Colorectal Cancer and Its Consequences in Film بازنمایی روایت سرطان کولورکتال و پیامدهای آن در فیلم 732518 10.30508/fhja.2025.2074155.1225 FA سمیه زارعی دانشجوی دکتری پژوهش هنر، گروه پژوهش و تاریخ هنر، دانشکده هنر، دانشگاه تربیت مدرس، تهران، ایران 0000-0002-2638-5987 شهرام منوچهری دانشیار بخش جراحی عمومی، دانشکده پزشکی، دانشگاه علوم پزشکی بقیة‌الله، تهران، ایران. 0000-0002-0424-1763 Journal Article 2025 10 09 Abstract Problem Statement Today, health is understood as a multidimensional concept that extends far beyond the mere absence of disease. It also encompasses the psychological, social, and cultural dimensions of a patient’s life. Within this framework, narrative plays a vital role as a foundational means of giving meaning to human experience, particularly in the context of illness. Illness narratives enable individuals to reinterpret their lived experiences and reconstruct their identities, while simultaneously providing audiences with a deeper understanding of the human dimensions of confronting disease. Colorectal cancer, as one of the most prevalent forms of cancer worldwide, imposes extensive physical, psychological, and social burdens upon patients. Alongside remarkable scientific advancements and the use of modern preventive and therapeutic technologies, public awareness disseminated through film can significantly contribute to disease management. Film, especially when grounded in real and personal narratives, possesses a unique ability to represent patients’ lived experiences and evoke empathy among viewers. It may therefore serve as a powerful medium for knowledge transmission, attitude transformation, and the promotion of public awareness. Adopting a qualitative approach grounded in narrative inquiry, the present study aims to analyze and represent these lived narratives through in-depth conversations with colorectal cancer patients and their treating surgeon. In doing so, the study explores how narrative can be employed in film as an effective tool for enhancing public awareness and reshaping perceptions regarding this illness. Accordingly, the principal research question is as follows: How can the narratives of colorectal cancer patients and their surgeon be represented within fictional and educational films? The ultimate objective of this study is to examine the purposeful use of personal narratives in film in order to increase public awareness about colorectal cancer and to demonstrate the power of storytelling in understanding, accepting, and confronting this disease. The present analysis pays particular attention to components such as events, characters (patients, specialists, and family members), narrative structure and text, spatial and temporal elements, and narrative discourse in order to achieve a clearer understanding of the narrative process in fictional and educational cinema. Research Objective This study focuses on employing the narratives of colorectal cancer patients and their surgeon in order to facilitate awareness-raising and the representation of their lived experiences through fictional and educational films. Research Question This research seeks to answer the following question: How can the narratives of colorectal cancer patients and their surgeon be represented within fictional and educational films? Research Method This study employs a qualitative descriptive-analytical method based on a narrative inquiry approach. Data were collected through informal participant observation in the clinical environment of a medical office, as well as through recording informal conversations with colorectal cancer patients and their treating surgeon. The narrative inquiry approach provides the opportunity to gain a deeper and more comprehensive understanding of the human and complex dimensions of illness through the stories and narratives individuals share about their experiences of disease. Sampling was conducted through in-depth conversations with 100 accessible patients at a colorectal clinic over a three-month period. Data analysis was carried out using narrative analysis techniques. Conclusion Cancer, as one of the most significant global public health challenges and a leading cause of mortality in Iran, requires effective communicative interventions. This study emphasizes the necessity of increasing awareness regarding colorectal cancer (CRC), since despite considerable medical advancements in diagnosis and treatment—including biopsy, surgery, and chemotherapy—public awareness concerning the importance of screening and its consequences, particularly complications such as the use of ostomy bags, remains insufficient. The findings indicate that spoken and written language play an important role in conveying raw information; however, artistic and media productions, especially film, possess a unique capacity to generate education, empathy, and emotional understanding toward specific illnesses. The life narratives of colorectal patients and surgeons are rich in dramatic and educational elements that may provide a powerful foundation for filmmaking. The notable absence of colorectal cancer representation in Iranian cinema reveals a major cultural and thematic gap, as cinematic attention has largely focused on more widely recognized forms of cancer. Representing this disease in film not only enhances public awareness regarding early diagnosis, but also contributes to addressing this cultural deficiency by utilizing the experiences of physicians and patients in fictional and documentary formats, thereby facilitating social acceptance and psychological support for affected individuals. Narrative components extracted from patients’ experiences include pain, fear of death, love, family, the struggle for survival, challenges associated with temporary or permanent ostomy, denial or acceptance of illness, family secrecy, human relationships, personality transformation, hope and despair, and economic hardship. Supporting characters in fictional films may include the patient, family members, social and support groups, and the colorectal surgeon. In documentary films, scientific explanations by surgeons, the use of related objects such as ostomy bags and medical instruments, the presentation of treatment stages and recovery periods, the use of photographs, and narrative settings such as operating rooms are all of particular significance. Furthermore, introducing the disease, types of tumors, symptoms, diagnostic methods, treatment procedures, and surgical techniques is essential. Finally, the life narrative of a specialist physician or colorectal surgeon—from diagnosis and surgery to professional, emotional, and ethical challenges—can itself create an engaging and educational story for audiences. Therefore, this study emphasizes that representing colorectal cancer narratives through fictional and documentary films constitutes an undeniable necessity for promoting public awareness, transforming social attitudes, and providing psychological support for patients بیان مسئله: روایت، شیوه‌ای بنیادین برای معنا بخشیدن به تجربه‌های انسانی است. یکی از این تجربه‌ها، روایت بیماری بیماران مبتلا به سرطان کولورکتال است. این بیماران با چالش‌های جسمانی، روانی و اجتماعی متعددی روبه‌رو هستند. روایت‌ این بیماری قابلیت بازنمایی در قالب فیلم را دارد. فیلم، هنگامی‌که بر روایت‌ واقعی تکیه می‌کند، ظرفیت منحصربه‌فردی در بازنمایی تجربه زیسته بیماران و ایجاد همدلی در مخاطب پدید می‌آورد. پژوهش حاضر می‌کوشد از طریق گفت‌وگو عمیق با بیماران مبتلا به سرطان کولورکتال و جراح آنان، به تحلیل و بازنمایی این روایت‌ها بپردازد و چگونگی بهره‌گیری از روایت در فیلم را به‌عنوان ابزاری مؤثر برای ارتقای آگاهی عمومی و تغییر نگرش نسبت به این بیماری بررسی کند. هدف پژوهش: این پژوهش بر بهره‌گیری از روایت‌های بیماران مبتلا به سرطان کولورکتال و جراح آنان تمرکز دارد تا در قالب فیلم‌های داستانی و آموزشی، زمینه‌ی آگاهی‌بخشی و بازنمایی تجربه‌های زیسته‌ی آنان فراهم شود. سؤال پژوهش: این پژوهش می‌کوشد به این پرسش پاسخ دهد که؛ روایت‌های بیماران مبتلا به سرطان کولورکتال و جراح آنان چگونه می‌تواند در قالب فیلم‌های داستانی و آموزشی بازنمایی شوند؟ روش پژوهش: این پژوهش با روش توصیفی ـ تحلیلی و رویکرد روایت پژوهی است. نمونه‌گیری مبتنی بر گفت‌وگوهای عمیق با 100 بیمار در دسترس است که طی سه ماه در کلینیک کولورکتالِ جراح مربوطه انجام‌شده است. تحلیل داده‌ها با بهره‌گیری از روش تحلیل روایت صورت گرفت. نتیجه‌گیری: نتایج پژوهش نشان داد که روایت فیلم آگاهی‌بخش درباره‌ی سرطان کولورکتال باید بر سه محور اساسی استوار باشد: بازنمایی واقع‌گرایانه تجربه‌های زیسته بیماران، شیوه‌ی انتقال اطلاعات و توضیحات تخصصی توسط جراح و برجسته‌سازی نقش محوری خانواده در مدیریت چالش‌های بیماری. توجه به این سه محور در تولید فیلم‌های داستانی و آموزشی می‌تواند به ارتقای آگاهی عمومی نسبت به این بیماری کمک کند.

https://www.fhja.ir/article_732518_3d0159c494f359667eea4edcf0472993.pdf

مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 6 22 2025 11 22 Semiotics of Decorative Motifs (Khata’i and Eslimi) in Islamic Art with Emphasis on Charles Sanders Peirce’s Theory نشانه شناسی نقوش تزیینی (ختایی و اسلیمی ) هنر اسلامی با تاکید بر دیدگاه سندرس پیرس. 734418 10.30508/fhja.2026.2081910.1236 FA محمدرضا تابعی دانشجوی دکتری تخصصی پژوهش هنر دانشگاه هنرـ شاهد تهران Journal Article 2025 12 24 Problem Statement Khata’i and Eslimi motifs constitute the most fundamental decorative themes concerning form and content in Iranian Islamic art. Their origins predate Islam; however, with the advent of Islam, these motifs assumed a distinct manifestation aligned with Islamic law and spirituality. From the early Islamic centuries onward, they appeared extensively in architectural ornamentation, ceramics, metalwork, engraving, textiles, and other artistic media, and they have continued, to varying degrees, throughout the history of Islamic arts. In the early Islamic period, these motifs appeared relatively simple in structure. During the Safavid era, however, owing to increased patronage of art and artists, a remarkable diversity of forms emerged in Eslimi designs, including filled Eslimi, floral Eslimi, cloud-like, serpentine, and dragon-mouth variations. Likewise, numerous Khata’i floral patterns evolved, among which the Shah Abbasi flower remains one of the most prominent examples. On the other hand, despite substantial transformations and the gradual distancing from abstract perspectives in fields such as miniature painting, flower-and-bird painting, tash‘ir, and related visual traditions, no major structural alteration can be observed in the foundational compositions of Khata’i and Eslimi motifs. These two ornamental systems have largely preserved their essential structure up to the present day. A study of Islamic art until the late Safavid period reveals a more coherent and eloquent continuity in the abstract language of Islamic art. Naturally, with the rise of the European Renaissance, humanism, rationalism, and the cultural interactions between East and West, artistic exchanges among creators shaped by different cultural contexts and lived experiences produced a form of intellectual and artistic eclecticism. One manifestation of this tendency can be observed in the Europeanized artistic trends of the late Safavid era, whose influences have persisted to the present. Neglecting the ultimate purpose of art within the abstract vision of Islamic aesthetics, alongside the emergence of autonomous artistic attitudes grounded in individual taste and subjective abstraction during the late Safavid period—an approach fundamentally opposed to the abstract principles of Islamic art—caused Islamic miniature painting to decline gradually, and its abstract paradigms to fade into obscurity. From the perspective of Shahab al-Din Suhrawardi, abstraction develops through two stages: 1. The determination toward abstraction 2. Spiritual striving within abstraction Suhrawardi considers the ultimate purpose of abstraction to be “becoming God-like, or annihilation of worldly attributes and transformation into a mirror reflecting divine qualities” (Rastayi, 2022). It is therefore evident that Islamic civilization and culture, grounded in an overarching unity governing all dimensions of society, perceive art through a sapiential and divine teleology. Consequently, artistic productions were historically aligned with this metaphysical worldview. This issue has progressed to such an extent that today, even among certain practitioners of traditional arts, the content and meaning of Iranian Islamic art—formed upon the basis of abstract art—remain ambiguous. Many still regard abstraction (tajrid) and abstractionism as synonymous concepts. This is despite the fact that “the concept of abstraction in Iranian painting (between the 5th and 11th centuries AH) and the notion of abstractionism in Western painting (from the late nineteenth century onward), despite superficial similarities, differ fundamentally in terms of worldview, structure, and method of execution” (Hamdieh & Sharifzadeh, 2022). Accordingly, in order to interpret abstract art and clarify its function and structure, this study turns to the semiotic framework of Charles Sanders Peirce as an interpretive model. Nevertheless, it should be emphasized that even this theoretical framework cannot entirely articulate the essence of Islamic abstract art, since a comprehensive understanding of abstraction in Islamic art requires profound familiarity with the inner dimensions of Islam itself. In this regard, Titus Burckhardt analyzed Islamic art from a deeply symbolic and metaphysical perspective. He regarded the source and origin of Islamic art as belonging to the spirit of Islam itself, asserting that the outward form of Islamic art is generated from the inward reality of Islam and Islamic law, a view particularly evident in architectural works. Research Objectives The principal objective of this study is to investigate the expressive quality of abstraction (tajrid) in Iranian-Islamic art and to provide a semiotic interpretation of Khata’i and Eslimi motifs based on Peirce’s semiotic model. The study further seeks to clarify the conceptual ambiguity between the notions of abstraction and abstractionism, while elucidating the conceptual function and the unity of form and content embedded within these motifs. Research Question Within the framework of Peirce’s semiotic theory, what concepts are signified by the decorative motifs of “Khata’i and Eslimi” in Islamic abstract art? Research Methodology From the standpoint of purpose, this study is fundamental research. In terms of method, it adopts a descriptive-analytical and qualitative approach aimed at interpreting the concept of abstraction and explaining its function and structure. The research materials—including theses, images, scholarly articles, and books—have been collected through library-based documentation methods. Conclusion The present article was composed with the aim of semiotic interpretation based on the theory of Charles Sanders Peirce. Based on the discussions presented and according to the views of prominent scholars, abstraction (tajrid) and abstract art in Islamic tradition fundamentally differ from abstractionism in the Western context. Khata’i and Eslimi motifs were first explained through the framework of abstract art and according to the hierarchy of perception proposed by Avicenna. Subsequently, these motifs were analyzed through Peirce’s categories of signs—icon, index, and symbol—as well as through the interrelations among the sign itself, its internal relations, and the external world beyond the sign. What becomes evident through the synthesis of Avicenna’s theory of perception and Peirce’s notion of abduction is that Khata’i and Eslimi motifs are not merely ornamental forms dependent upon visual structure alone. Rather, they are designed upon the foundations of Islamic wisdom, philosophy, and the principles of Islamic law. These motifs embody a highly intelligent and integrated unity of form and content, carrying profound metaphysical meanings. The interweaving of Khata’i and Eslimi motifs through spiral movement—symbolizing the transition from multiplicity to unity and the reverse journey—functions simultaneously in determinate (visual) and determinative (conventional) dimensions. In this context, corporeality and objectivity are manifested in the Khata’i motif, while convention and symbolic determination are represented in the Eslimi form. The flower, regarded as the most abstract worldly element due to humanity’s abstract sensory perception through smell—a sensory faculty itself possessing highly abstract qualities—evokes the meaning of abstraction as a movement from unity and singularity toward multiplicity, birth, generation, and the creation of the cosmos. Conversely, the Eslimi motif, through its fluid and muscular forms that possess no direct equivalent in the material world, transcends representational imagery and approaches the realm of abstraction, spirituality, and transcendence. The Tree of Life, which according to Arthur Upham Pope “grew from the vase of the waters of life,” has been a motif of enduring significance since ancient times. Diverse examples of this motif can be observed throughout Iranian art, particularly within architectural ornamentation and even in Achaemenid stone carvings. The abstract signs embedded in this imagery—from the stylized reduction of the Tree of Life to the birds, symmetrical compositions, the vase of the waters of life, and the symbolism of growth—all originate in abstraction. These can be traced within decorative architectural inscriptions and ornamentations. As Titus Burckhardt observed, “the absence of realism is neither accidental nor due to the artist’s lack of skill; rather, it is an essential element of a qualitative space that seeks above all to be unreal—a space in which forms suspended in the mind appear devoid of matter and its associated properties.” In the present article, the signs and their modes of perception were analyzed and interpreted. The concepts raised in the fundamental research question were addressed through reference to the views and theories of distinguished scholars in the field. بیان مسئله تجرید، بن‌مایه و اساس هنر اسلامی-ایرانی است که هویت این هنر بر آن استوار است. با این‌حال، به نظر می‌رسد عدول هنر ایرانی از اواخر دوران صفوی به بعد، ناشی از گسست در درک هنر تجریدی و تغییر در تجربه زیسته هنرمند و مخاطب بوده است. در این میان، نقوش «ختایی» و «اسلیمی» کاربردی‌ترین نمودهای تجرید هستند که باوجود کثرت ظاهری، به‌سوی وحدت گرایش دارند. از سوی دیگر، علم نشانه‌شناسی «چارلز سندرس پیرس»، با تأکید بر روابط میان نشانه‌ها، تفسیرگر آن‌ها و پیوند نشانه‌ با عالم خارج، در کنار مقوله «ابداکسیون»، ظرفیت علمی نوینی برای خوانش این نقوش فراهم می‌آورد. بااین‌وجود، تفاوت‌های بنیادین میان نگاه «انتزاعی» و «تجریدی» در هنر اسلامی هنوز برای بسیاری از پژوهشگران و هنرمندان مبهم باقی‌مانده است. اهداف پژوهش هدف اصلی این پژوهش، واکاوی کیفیت بیانی تجرید در هنر اسلامی-ایرانی و تبیین نشانه شناختی نقوش ختایی و اسلیمی بر پایه الگوی پیرس است تا ضمن رفع ابهام میان مفاهیم انتزاع و تجرید، کارکرد مفهومی و وحدت فرم و محتوا در این نقوش روشن گردد. سؤال پژوهش نشانه‌شناسی نقوش تزیینی «ختایی و اسلیمی» در هنر تجریدی اسلامی، بر مبنای الگوی نشانه‌شناسی پیرس بر چه مفاهیمی دلالت دارد؟ روش پژوهش این مطالعه باهدف بنیادی و به روش توصیفی-تحلیلی انجام‌شده است. داده‌ها از طریق مطالعات کتابخانه‌ای و اسنادی (کیفی) گردآوری‌شده و با رویکرد نشانه‌شناسی پیرس مورد تحلیل قرارگرفته‌اند. نتیجه‌گیری یافته‌ها نشان می‌دهد که قوام و نبالت نقوش ختایی و اسلیمی، در پیوندی زنجیره‌وار با ادوار تاریخی و با تکیه بر مبانی شریعت اسلام شکل‌گرفته است. این نقوش در سطح فرم و محتوا به وحدتی دست‌یافته‌اند که بازتاب‌دهنده مفاهیم متعالی همچون تولد و مرگ و دنیا و آخرت در ظاهر و باطن اثر است. تحلیل نشانه شناختی تبیین می‌کند که چگونه این نقوش از بازنمایی صرف عبور کرده و به‌مثابه نشانه‌هایی برای درک هستی‌شناسانه جهان در شبکه نشانگان هنر اسلامی عمل می‌کنند.

https://www.fhja.ir/article_734418_b050e1007a15b24f1307247bae6a8240.pdf

مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 6 22 2025 11 22 Men’s Hair and Facial Grooming in the Murals of the Safavid Era under Shah Abbas I: A Reflection of Diverse Lifestyles within the Court, Bazaar, and Religious Classes آرایش موی سر و صورت مردان در نقاشی‌های دیواری دوران شاه عباس اول صفوی؛ بازتابی از تنوع سبک‌های زیستی در دربار، بازار و طبقات مذهبی 735040 10.30508/fhja.2026.2067581.1213 FA جواد ورزنده موسسه آموزش عالی فردوس مشهد/ ایران. سمانه سالک موسسه آموزش عالی فردوس مشهد/ ایران. Journal Article 2025 08 04 Problem Statement Khata’i and Eslimi motifs constitute the most fundamental decorative themes concerning form and content in Iranian Islamic art. Their origins predate Islam; however, with the advent of Islam, these motifs assumed a distinct manifestation aligned with Islamic law and spirituality. From the early Islamic centuries onward, they appeared extensively in architectural ornamentation, ceramics, metalwork, engraving, textiles, and other artistic media, and they have continued, to varying degrees, throughout the history of Islamic arts. In the early Islamic period, these motifs appeared relatively simple in structure. During the Safavid era, however, owing to increased patronage of art and artists, a remarkable diversity of forms emerged in Eslimi designs, including filled Eslimi, floral Eslimi, cloud-like, serpentine, and dragon-mouth variations. Likewise, numerous Khata’i floral patterns evolved, among which the Shah Abbasi flower remains one of the most prominent examples. On the other hand, despite substantial transformations and the gradual distancing from abstract perspectives in fields such as miniature painting, flower-and-bird painting, tash‘ir, and related visual traditions, no major structural alteration can be observed in the foundational compositions of Khata’i and Eslimi motifs. These two ornamental systems have largely preserved their essential structure up to the present day. A study of Islamic art until the late Safavid period reveals a more coherent and eloquent continuity in the abstract language of Islamic art. Naturally, with the rise of the European Renaissance, humanism, rationalism, and the cultural interactions between East and West, artistic exchanges among creators shaped by different cultural contexts and lived experiences produced a form of intellectual and artistic eclecticism. One manifestation of this tendency can be observed in the Europeanized artistic trends of the late Safavid era, whose influences have persisted to the present. Neglecting the ultimate purpose of art within the abstract vision of Islamic aesthetics, alongside the emergence of autonomous artistic attitudes grounded in individual taste and subjective abstraction during the late Safavid period—an approach fundamentally opposed to the abstract principles of Islamic art—caused Islamic miniature painting to decline gradually, and its abstract paradigms to fade into obscurity. From the perspective of Shahab al-Din Suhrawardi, abstraction develops through two stages: 1. The determination toward abstraction 2. Spiritual striving within abstraction Suhrawardi considers the ultimate purpose of abstraction to be “becoming God-like, or annihilation of worldly attributes and transformation into a mirror reflecting divine qualities” (Rastayi, 2022). It is therefore evident that Islamic civilization and culture, grounded in an overarching unity governing all dimensions of society, perceive art through a sapiential and divine teleology. Consequently, artistic productions were historically aligned with this metaphysical worldview. This issue has progressed to such an extent that today, even among certain practitioners of traditional arts, the content and meaning of Iranian Islamic art—formed upon the basis of abstract art—remain ambiguous. Many still regard abstraction (tajrid) and abstractionism as synonymous concepts. This is despite the fact that “the concept of abstraction in Iranian painting (between the 5th and 11th centuries AH) and the notion of abstractionism in Western painting (from the late nineteenth century onward), despite superficial similarities, differ fundamentally in terms of worldview, structure, and method of execution” (Hamdieh & Sharifzadeh, 2022). Accordingly, in order to interpret abstract art and clarify its function and structure, this study turns to the semiotic framework of Charles Sanders Peirce as an interpretive model. Nevertheless, it should be emphasized that even this theoretical framework cannot entirely articulate the essence of Islamic abstract art, since a comprehensive understanding of abstraction in Islamic art requires profound familiarity with the inner dimensions of Islam itself. In this regard, Titus Burckhardt analyzed Islamic art from a deeply symbolic and metaphysical perspective. He regarded the source and origin of Islamic art as belonging to the spirit of Islam itself, asserting that the outward form of Islamic art is generated from the inward reality of Islam and Islamic law, a view particularly evident in architectural works. Research Objectives The principal objective of this study is to investigate the expressive quality of abstraction (tajrid) in Iranian-Islamic art and to provide a semiotic interpretation of Khata’i and Eslimi motifs based on Peirce’s semiotic model. The study further seeks to clarify the conceptual ambiguity between the notions of abstraction and abstractionism, while elucidating the conceptual function and the unity of form and content embedded within these motifs. Research Question Within the framework of Peirce’s semiotic theory, what concepts are signified by the decorative motifs of “Khata’i and Eslimi” in Islamic abstract art? Research Methodology From the standpoint of purpose, this study is fundamental research. In terms of method, it adopts a descriptive-analytical and qualitative approach aimed at interpreting the concept of abstraction and explaining its function and structure. The research materials—including theses, images, scholarly articles, and books—have been collected through library-based documentation methods. Conclusion The present article was composed with the aim of semiotic interpretation based on the theory of Charles Sanders Peirce. Based on the discussions presented and according to the views of prominent scholars, abstraction (tajrid) and abstract art in Islamic tradition fundamentally differ from abstractionism in the Western context. Khata’i and Eslimi motifs were first explained through the framework of abstract art and according to the hierarchy of perception proposed by Avicenna. Subsequently, these motifs were analyzed through Peirce’s categories of signs—icon, index, and symbol—as well as through the interrelations among the sign itself, its internal relations, and the external world beyond the sign. What becomes evident through the synthesis of Avicenna’s theory of perception and Peirce’s notion of abduction is that Khata’i and Eslimi motifs are not merely ornamental forms dependent upon visual structure alone. Rather, they are designed upon the foundations of Islamic wisdom, philosophy, and the principles of Islamic law. These motifs embody a highly intelligent and integrated unity of form and content, carrying profound metaphysical meanings. The interweaving of Khata’i and Eslimi motifs through spiral movement—symbolizing the transition from multiplicity to unity and the reverse journey—functions simultaneously in determinate (visual) and determinative (conventional) dimensions. In this context, corporeality and objectivity are manifested in the Khata’i motif, while convention and symbolic determination are represented in the Eslimi form. The flower, regarded as the most abstract worldly element due to humanity’s abstract sensory perception through smell—a sensory faculty itself possessing highly abstract qualities—evokes the meaning of abstraction as a movement from unity and singularity toward multiplicity, birth, generation, and the creation of the cosmos. Conversely, the Eslimi motif, through its fluid and muscular forms that possess no direct equivalent in the material world, transcends representational imagery and approaches the realm of abstraction, spirituality, and transcendence. The Tree of Life, which according to Arthur Upham Pope “grew from the vase of the waters of life,” has been a motif of enduring significance since ancient times. Diverse examples of this motif can be observed throughout Iranian art, particularly within architectural ornamentation and even in Achaemenid stone carvings. The abstract signs embedded in this imagery—from the stylized reduction of the Tree of Life to the birds, symmetrical compositions, the vase of the waters of life, and the symbolism of growth—all originate in abstraction. These can be traced within decorative architectural inscriptions and ornamentations. As Titus Burckhardt observed, “the absence of realism is neither accidental nor due to the artist’s lack of skill; rather, it is an essential element of a qualitative space that seeks above all to be unreal—a space in which forms suspended in the mind appear devoid of matter and its associated properties.” In the present article, the signs and their modes of perception were analyzed and interpreted. The concepts raised in the fundamental research question were addressed through reference to the views and theories of distinguished scholars in the field. بیان مسئله: آثار هنری دوره صفوی، صرفاً نمایش‌های زیباشناختی نبوده‌اند بلکه بازتاب‌دهنده‌ی نگرش‌ها، باورها و ساختارهای اجتماعی زمانه خویش‌اند. بازنمایی آرایش موی سروصورت مردان، به‌عنوان یکی از شاخصه‌های بارز هویت بصری، نه‌تنها معرف سلیقه‌های زیبایی‌شناختی بلکه نشانه‌ای از جایگاه طبقاتی، شغلی و ایدئولوژیک افراد بوده است. بااین‌حال، بیشتر پژوهش‌ها بر بازنمایی درباریان تمرکز داشته‌اند و به نقش آرایش مردانه در طبقات غیر درباری کمتر توجه شده است. این خلأ، ضرورت تحلیل تطبیقی بازنمایی چهره مردان در طبقات مختلف اجتماعی را از منظر هنر تصویری صفوی آشکار می‌سازد. هدف پژوهش: این پژوهش با هدف تحلیل بازنمایی آرایش موی سروصورت مردان در نقاشیهای دیواری دوران شاه‌عباس اول صفوی، به بررسی تطبیقی سه گروه درباریان، پیشه‌وران و مذهبیون می‌پردازد تا از خلال آن، گفتمان‌های نهفته در پسِ این بازنمایی‌های بصری همچون مفهوم قدرت، مردانگی، زهد و طبقه‌ اجتماعی واکاوی شود. سؤال پژوهش: آرایش موی سروصورت مردان در نقاشیهای دیواری دوران شاه‌عباس اول صفوی چگونه در طبقات مختلف اجتماعی بازنمایی شده و هر یک از این بازنمایی‌ها چه مفاهیمی از قدرت، منزلت یا هویت را بازتاب می‌دهند؟ روش پژوهش: این پژوهش از روش تحلیل کیفی و تفسیر نشانه شناختی بهره می‌گیرد. ابتدا نمونه‌هایی از نقاشی‌های دیواری دوران شاه‌عباس اول صفوی گزینش شده و سپس با تمرکز بر آرایش مو و صورت، از منظر گفتمان قدرت، طبقه و فرهنگ، مورد تحلیل قرارگرفته‌اند. منابع مکتوب تاریخی و مقالات پژوهشی نیز برای پشتیبانی نظری و تاریخی به کار گرفته‌شده‌اند. نتیجه‌گیری: یافته‌های این پژوهش نشان می‌دهد که آرایش مردانه در دوره صفوی ابزاری مهم در بازنمایی هویت اجتماعی بوده است. در دربار، پیرایش دقیق و آراسته نماد قدرت، ظرافت و شأن سلطنتی تلقی می‌شد؛ در بازار و میان پیشه‌وران، آرایش چهره بازتابی از مردانگی کارگرانه و واقع‌گرایانه بود؛ و در طبقات مذهبی، ظاهر ساده و زاهدانه بیان‌گر پرهیز از دنیا و پایبندی به ارزش‌های معنوی بود.

https://www.fhja.ir/article_735040_180beb02dc59a5b3652d3da42721cf48.pdf

مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 6 22 2025 11 22 Thermal Comfort, Mechanical Systems, Arg-e Bam, Natural Ventilation, Traditional Architecture, Cooling. تحلیل عملکرد انرژی در معماری بومی ارگ بم با استفاده از شبیه‌سازی انرژی ساختمان 735041 10.30508/fhja.2026.2076084.1229 FA ثنا آذرطوسی دانشگاه سراسری بناب مریم محمودی دانشگاه سراسری بناب توحید ادیبی مهندسی مکانیک دانشیار دانشگاه بناب Journal Article 2025 10 29 Problem Statement : With its towering walls and extraordinary architecture, the Bam Citadel was not merely a military fortress but a complete city encompassing all the elements of a vibrant and dynamic society. From prosperous markets and spiritually uplifting mosques to simple and luxurious houses, every component testifies to the lively existence of people who once lived within these walls. Once a center of commerce and culture, the citadel today stands as a symbol of the resilience and grandeur of Iranian history. Since Bam Citadel was constructed using traditional materials such as adobe and palm wood, the significance of utilizing sustainable and local materials in its construction becomes particularly evident. Building with compacted earth is an ancient technique that is valuable not only culturally but also environmentally. Due to its high thermal mass, this method stabilizes indoor temperatures and reduces the energy required for heating and cooling. The materials used in Bam Citadel possess low embodied energy, meaning that the energy consumed for extraction, processing, and transportation is significantly lower than that required for modern materials such as concrete and steel. Furthermore, the use of earth and local materials reduces the project’s carbon footprint and ensures climatic compatibility. Given the unique characteristics of Bam Citadel and the climatic and geographical conditions of the region, a comprehensive and precise study of the thermal, mechanical, and environmental performance of such structures from a regional and indigenous perspective is highly important. Recent studies adopting broader approaches have examined the impact of various additives, construction techniques, and climatic conditions on the performance of earthen materials. These investigations demonstrate that additives such as fly ash, natural fibers, and industrial waste materials can improve mechanical resistance and thermal behavior while preserving environmental sustainability. In recent years, increasing attention has been directed toward traditional architecture, particularly earthen structures, due to their environmental characteristics and favorable thermal performance. Research indicates that structures such as rammed-earth walls, especially in hot and humid climates, can effectively regulate indoor temperatures without the need for mechanical heating and cooling systems. Additionally, the use of indigenous materials and climate-responsive design strategies can provide thermal comfort during most days of the year. These characteristics have made traditional earthen architecture not only environmentally sustainable but also highly energy efficient and therefore suitable as a model for contemporary architectural development in hot and arid regions. Research Methodology Building energy simulation processes first emerged after the oil crisis of the 1970s. Over recent decades, these processes have been implemented through diverse computer systems that utilize advanced mathematical processing and graphical visualization capabilities. Today, numerous building energy simulation software packages—both commercial and free—are available. Since 1996, the United States Department of Energy has maintained a list of approximately one hundred computational tools while also developing several open-source software systems. For importing climatic conditions into the simulations, a valid EPW weather file for the city of Bam was downloaded from the official EnergyPlus Weather Data database of the U.S. Department of Energy. This file includes hourly data on temperature, relative humidity, solar radiation, and wind speed throughout an entire year and served as the primary climatic data source for the present study. To verify and validate the data, the outputs of this file were compared with data generated by Meteonorm software. The comparison demonstrated that temperature and solar radiation trends in both datasets were similar, and discrepancies remained within acceptable ranges. Therefore, the EnergyPlus file was used as the primary dataset, while Meteonorm data functioned as supplementary and validation tools. Several scenarios involving variations in internal loads, natural ventilation, and the presence or absence of shading devices were designed and implemented to analyze the thermal behavior of the spaces throughout the year. Research Objectives To evaluate the capability of the traditional form and materials of Bam Citadel architecture in providing thermal comfort without mechanical systems. To measure the reduction of daily and seasonal temperature fluctuations within interior spaces and assess the role of indigenous materials such as adobe and palm wood in this performance. To analyze evidence obtained from energy simulations in DesignBuilder in order to confirm the passive and sustainable performance of traditional architecture in reducing energy consumption. Research Questions 1. Are the form and materials employed in the traditional architecture of Bam Citadel capable of providing thermal comfort in a hot and arid climate without mechanical systems? 2. To what extent are daily and seasonal temperature fluctuations reduced within the interior spaces of Bam Citadel, and how dependent is this optimization on indigenous materials such as adobe and palm wood? 3. What evidence do DesignBuilder energy simulations provide in support of the passive and sustainable performance of traditional buildings in reducing energy consumption? Conclusion The present study employed building energy simulation in DesignBuilder software to examine thermal comfort conditions and energy consumption in Bam Citadel as a prominent example of traditional architecture in Iran’s hot and arid climate. Simulation results demonstrated that indigenous materials such as adobe and palm wood, together with appropriate spatial design, play a substantial role in regulating indoor temperature and reducing cooling loads. The simulations further revealed that although the local materials used in Bam Citadel—raw adobe and palm wood—cannot independently provide complete thermal comfort according to international standards, they significantly contribute to reducing indoor temperature fluctuations and decreasing cooling and heating demands. Therefore, these materials should be regarded as effective climatic solutions for improving energy efficiency in traditional buildings and as inspirational models for sustainable contemporary design. The findings indicate that the architectural design of Bam Citadel, relying on indigenous materials such as adobe and palm wood and a compact geometric form, succeeded in providing an acceptable level of thermal comfort during warm seasons despite the absence of active mechanical systems. DesignBuilder simulations revealed that indoor air temperatures frequently remained within the comfort range defined by international standards, while the severe temperature fluctuations characteristic of Bam’s hot and arid climate were significantly moderated within the building. This favorable thermal performance, especially during peak heat hours, demonstrates that traditional Iranian architecture was intelligently adapted to climatic conditions. Moreover, dynamic analysis of energy consumption showed a substantial reduction in the need for mechanical cooling, highlighting the remarkable capacity of passive strategies for energy control. Ultimately, by providing quantified evidence regarding the thermal performance of a traditional structure, this research strengthens the scientific position of energy analysis in historical architecture and paves the way for similar comparative studies in other traditional contexts. بیان مسئله مصرف انرژی در ساختمان‌ها یکی از چالش‌های مهم جهانی و به‌ویژه در ایران است. تأمین شرایط آسایش حرارتی شامل گرمایش و سرمایش در اقلیم‌های گرم و خشک، به دلیل هزینه بالای تجهیزات و انرژی، فشار زیادی بر جامعه وارد می‌کند. در معماری سنتی ایران، بهره‌گیری هوشمندانه از عناصر اقلیمی و مصالح بومی، نقش مؤثری در کاهش نیاز به سامانه‌های مکانیکی داشته است. با توجه به این ظرفیت‌ها، ضرورت بررسی کمّی عملکرد این ویژگی‌ها در بناهای شاخص همچون ارگ بم افزایش یافته است. اهداف پژوهش – ارزیابی میزان توانایی فرم و مصالح معماری سنتی ارگ بم در تأمین آسایش حرارتی بدون سامانه‌های مکانیکی. – سنجش میزان کاهش نوسانات دمای روزانه و فصلی در فضاهای داخلی و نقش مصالح بومی نظیر خشت و چوب خرما در این کارکرد. – تحلیل شواهد حاصل از شبیه‌سازی انرژی در DesignBuilder برای تأیید عملکرد غیرفعال و پایدار معماری سنتی در کاهش مصرف انرژی. سؤالات پژوهش ۱- آیا فرم و مصالح به‌کاررفته در معماری سنتی ارگ بم، بدون استفاده از سامانه‌های مکانیکی، قادر به تأمین آسایش حرارتی در اقلیم گرم و خشک هستند؟ ۲- چه میزان از نوسانات دمایی روزانه و فصلی در فضای داخلی ارگ بم کاهش یافته و این بهینه‌سازی تا چه اندازه به عملکرد مصالح بومی نظیر خشت و چوب خرما وابسته است؟ ۳- نتایج شبیه‌سازی انرژی با DesignBuilder چه شواهدی برای تأیید عملکرد غیرفعال و پایدار ساختمان‌های سنتی در کاهش مصرف انرژی ارائه می‌دهد؟ روش پژوهش در این مطالعه عملکرد انرژی فضاهای داخلی ارگ بم با استفاده از نرم‌افزار DesignBuilder و داده‌های اقلیمی شهر بم شبیه‌سازی شده است. تحلیل بارهای حرارتی و تغییرات دمای عملیاتی در فصول مختلف، برای بررسی نقش جرم حرارتی مصالح خشتی، جانمایی فضاها و تهویه طبیعی در ارتقای عملکرد غیرفعال بنا انجام شده است. نتیجه‌گیری نتایج نشان می‌دهد که جرم حرارتی بالای مصالح خشتی، آرایش فضایی مناسب و تهویه طبیعی، کاهش قابل‌توجهی در نیاز به گرمایش و سرمایش مصنوعی ایجاد می‌کنند. همچنین شبیه‌سازی‌ها بیانگر کاهش محسوس نوسانات دمایی داخلی در برابر تغییرات شدید اقلیم گرم و خشک هستند. تحلیل بارهای حرارتی و دماهای عملیاتی، کارآمدی راهکارهای سنتی در پاسخ‌گویی به شرایط سخت اقلیمی و اهمیت بازخوانی اصول معماری بومی در توسعه ساختمان‌های پایدار و کم‌مصرف را تأیید می‌کند.

https://www.fhja.ir/article_735041_716656bba77ff0363e82836717b89b9a.pdf

مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 6 22 2025 11 22 From Pleasure to Meaning: Redefining Nursing Home Architecture Based on Hedonic and Eudaimonic Well-Being از لذت تا معنا: بازتعریف معماری خانه سالمندان بر پایه بهزیستی هدونیک و یودایمونیک 735043 10.30508/fhja.2026.2086075.1240 FA الهه حسنخوئی استادیار گروه معماری، موسسه آموزش عالی فردوس،مشهد، ایران مهلا قنبرزاده موسسه غیرانتفاعی فردوس، گروه معماری، دانش‌آموخته کارشناسی ارشد Journal Article 2026 02 20 From Pleasure to Meaning: A Comparative Analysis of Hedonic and Eudaimonic Well-Being in Elderly Care Environments Abstract Problem Statement: Advances in medical sciences, declining mortality rates at younger ages, transformations in urban lifestyles, and the expansion of social welfare systems have collectively contributed to a rapid and unprecedented growth of the elderly population in Iran. Improvements in healthcare infrastructure, preventive medicine, and living standards have significantly increased life expectancy, thereby altering the demographic structure of the country. Statistical evidence indicates that the population aged over 60, which exceeded four million in 1996, has been steadily rising and is projected to approach what scholars describe as a forthcoming “aging explosion” in the coming years. This demographic transition is not merely a quantitative shift but represents a profound structural transformation with far-reaching social, economic, and spatial implications. Simultaneously, traditional family-based caregiving systems have gradually weakened due to industrialization, urban migration, smaller household sizes, and the widespread employment of both men and women. As extended family structures give way to nuclear households and professional commitments limit the availability of informal caregivers, nursing homes have increasingly become one of the primary residential settings for older adults. Consequently, these environments are no longer temporary or marginal spaces but central living environments that directly shape the daily experiences, emotional states, and overall life satisfaction of their residents. Within this context, the central issue addressed in the present study concerns the extent to which residential environments for older adults are capable of responding to the multidimensional aspects of well-being. While many existing facilities emphasize physical safety and medical care, the broader dimensions of well-being—including psychological comfort, social connectedness, and spiritual fulfillment—often receive insufficient attention. Therefore, a critical question emerges: how can interior design move beyond functional adequacy to create conditions that cultivate a genuine “sense of well-being” and enhance overall quality of life? Addressing this question requires a comprehensive understanding of well-being as a construct that encompasses both hedonic aspects (pleasure, comfort, and immediate satisfaction) and eudaimonic dimensions (meaning, purpose, and self-realization). Research Objective: The objective of this study is to identify and analyze the key components influencing the well-being of older adults and to translate these components into practical and applicable strategies for the interior design of nursing homes. Emphasis is placed on promoting optimal living conditions that support not only physical comfort but also psychological resilience, social engagement, and existential meaning. By bridging theoretical perspectives on well-being with spatial and design interventions, the study seeks to provide a structured framework through which interior architecture can actively contribute to improving the lived experiences of elderly residents. In this sense, the research does not merely describe well-being but aims to operationalize it within the realm of environmental design. Research Questions: In pursuit of this objective, the principal research questions are as follows: What are the components that influence elderly well-being? What characteristics should a nursing home possess in order to foster a positive sense of well-being and improve quality of life? These questions reflect a dual focus: first, the identification and prioritization of well-being dimensions; and second, the translation of these dimensions into spatial and environmental attributes. The study thereby establishes a direct connection between theoretical constructs and practical design criteria. Methodology: The present research adopts an analytical–applied approach, drawing upon both theoretical investigations and quantitative data analysis. Initially, a comprehensive review of relevant literature enabled the extraction of the major dimensions and subdimensions of well-being. Based on these findings, a conceptual framework was developed to organize the identified components into coherent categories. Subsequently, a structured questionnaire instrument was designed to assess the perceived importance and priority of each component from the perspective of respondents. Statistical analysis was employed to evaluate the relative weight of each dimension and to determine patterns of significance. Following the quantitative assessment, the subcomponents associated with each dimension were systematically translated into corresponding interior design strategies. This step ensured that the relationship between well-being theory and spatial intervention was not abstract but methodically articulated. In other words, the study moves from conceptual clarification to empirical prioritization and finally to design application, thereby establishing a logical and sequential research process. Conclusion: The findings indicate that elderly well-being is a multidimensional construct encompassing physical, psychological, social, and spiritual domains. It cannot be reduced to mere physical comfort or medical adequacy; rather, it involves the integration of bodily health, emotional stability, interpersonal relationships, and a sense of meaning and purpose. Accordingly, the design of nursing homes must address these dimensions in an integrated and holistic manner. A fragmented or purely functional approach is insufficient to support the complex needs of aging individuals. The interdisciplinary model proposed in this study provides a foundation for the creation of dynamic, safe, meaningful, and human-centered environments. By aligning spatial organization, material selection, lighting, social interaction areas, and contemplative spaces with the identified dimensions of well-being, interior design can play a transformative role in enhancing life satisfaction during the later stages of life. Ultimately, the research underscores that environments designed for older adults should not merely accommodate aging but actively support flourishing—facilitating both pleasure and meaning in everyday living. Keywords: Design; Older Adults; Nursing Home; Well-Being بیان مسئله تحولات جمعیتی دهه‌های اخیر، به‌ویژه در پی پیشرفت‌های علوم پزشکی، کاهش مرگ‌ومیر در سنین پایین، دگرگونی سبک زندگی شهری و ارتقای شاخص‌های رفاه اجتماعی، ساختار سنی جامعه ایران را به‌صورت بنیادین دگرگون ساخته است؛ به‌گونه‌ای که جمعیت افراد بالای ۶۰ سال که در سال ۱۳۷۵ اندکی بیش از چهار میلیون نفر برآورد می‌شد، هم‌زمان با این روند، کاهش ظرفیت مراقبت‌های درون‌خانوادگی در اثر صنعتی‌شدن، اشتغال گسترده و تغییر در ساختار خانواده، موجب شده است خانه‌های سالمندان به یکی از مهم‌ترین بسترهای اقامت این گروه سنی تبدیل شوند. هدف پژوهش این پژوهش با هدف شناسایی و تحلیل مؤلفه‌های اثرگذار بر بهزیستی سالمندان و تبدیل این مؤلفه‌ها به راهکارهای کاربردی در طراحی داخلی خانه‌های سالمندان انجام شده است سؤال پژوهش دو پرسش محوری این پژوهش عبارتند از: ۱. مؤلفه‌های مؤثر بر بهزیستی سالمندان کدام‌اند؟ ۲. خانه سالمندان مطلوب برای تقویت حس رضایت، آرامش و کیفیت زندگی باید واجد چه ویژگی‌ها و شاخصه‌هایی باشد؟ روش پژوهش پژوهش حاضر با رویکردی تحلیلی–کاربردی و مبتنی بر مطالعات نظری و تحلیل داده‌های کمی انجام شده است. نخست، مؤلفه‌های کلان بهزیستی از ادبیات پژوهش استخراج و چارچوبی مفهومی تدوین شد. سپس با استفاده از پرسشنامه و تحلیل آماری، میزان اهمیت و اولویت هر مؤلفه سنجش گردید. در مرحله بعد، بر اساس ریزمولفه‌های هر بعد، راهکارهای طراحی داخلی متناسب ارائه شد تا پیوند میان نظریه بهزیستی و مداخله کالبدی به‌صورت نظام‌مند برقرار شود. نتیجه‌گیری یافته‌ها نشان می‌دهد که بهزیستی سالمندان مفهومی تک‌بعدی یا صرفاً وابسته به آسایش فیزیکی نیست، بلکه ساختاری چندساحتی شامل ابعاد جسمی، روان‌شناختی، اجتماعی و معنوی دارد. بنابراین طراحی خانه سالمندان باید به‌صورت یکپارچه و میان‌رشته‌ای به این ساحت‌ها پاسخ دهد. الگوی پیشنهادی پژوهش می‌تواند زمینه‌ساز شکل‌گیری محیط‌هایی پویا، ایمن، معنادار و انسان‌محور شود و در نهایت به افزایش رضایت از زیستن در دوران سالمندی بینجامد. واژگان کلیدی: طراحی، سالمند، خانه سالمندان، به‌زیستن

https://www.fhja.ir/article_735043_6c2d1a4f86f76ca2ff2d2ea078a406a4.pdf

مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 6 22 2025 11 22 A Comparative Analysis of Stylistic Developments in Tehran Residential Architecture (1350-1400) From Academic Modernism to the Search for Native Identity تحلیل تطبیقی تحولات سبک‌شناختی در معماری مسکونی تهران (۱۳۵۰–۱۴۰۰) از مدرنیسم آکادمیک تا جستجوی هویت بومی 736309 10.30508/fhja.2026.2071682.1221 FA محمدمسعود غیابی ایلام. خیابان آیت اله حیدری . جنب بانک تجارت. بن بست درخشنده پلاک 7 0000-0001-8683-1232 Journal Article 2025 09 16 Tehran’s residential architecture over the past half century has been a mirror of the conflicts between tradition and modernity in the context of Iran’s social, economic, and political developments. This study, with a stylistic and historical-comparative approach, analyzes the process of changes in the three main components of architecture, namely form, materials, and design patterns, between 1350 and 1400. In this direction, prominent projects such as the Ekbatan settlement as a symbol of academic modernism, the Mehr housing as an example of low-quality mass construction, and new projects such as the Abshaar Tower, Zeytoon, and the Farahzad renovation have been examined. The findings show that in the 1350s, the elimination of identity-building elements such as the central courtyard and the porch was carried out in line with industrial and modernist patterns. In the 1380s, macro policies such as the Mehr housing, by prioritizing quantity over quality, led to the elimination of spatiality and the creation of textures without identity. In contrast, the 2011s and beyond have witnessed an attempt to redefine traditional elements in a new form; the use of refractory bricks, the creation of elevated courtyards, green roofs, and semi-open spaces are examples of this new trend. The results show that Tehran’s residential architecture has not been a uniform trend but a dynamic process influenced by social, political, and economic forces. Also, a critical return to tradition and its combination with modern technologies can provide a sustainable and distinctive model for the future. A review of recent examples proves that the conscious integration of tradition and modernity is not only possible, but also an inevitable necessity to respond to contemporary needs and preserve the Iranian-Islamic identity in architecture. This article aims to show that the future of Tehran’s residential architecture depends on learning from past experiences and designing spaces that, while paying attention to functional requirements and environmental sustainability, also maintain a sense of place and connection with local culture. Tehran’s residential architecture over the past half century has been a mirror of the conflicts between tradition and modernity in the context of Iran’s social, economic, and political developments. This study, with a stylistic and historical-comparative approach, analyzes the process of changes in the three main components of architecture, namely form, materials, and design patterns, between 1350 and 1400. In this direction, prominent projects such as the Ekbatan settlement as a symbol of academic modernism, the Mehr housing as an example of low-quality mass construction, and new projects such as the Abshaar Tower, Zeytoon, and the Farahzad renovation have been examined. The findings show that in the 1350s, the elimination of identity-building elements such as the central courtyard and the porch was carried out in line with industrial and modernist patterns. In the 1380s, macro policies such as the Mehr housing, by prioritizing quantity over quality, led to the elimination of spatiality and the creation of textures without identity. In contrast, the 2011s and beyond have witnessed an attempt to redefine traditional elements in a new form; the use of refractory bricks, the creation of elevated courtyards, green roofs, and semi-open spaces are examples of this new trend. The results show that Tehran’s residential architecture has not been a uniform trend but a dynamic process influenced by social, political, and economic forces. Also, a critical return to tradition and its combination with modern technologies can provide a sustainable and distinctive model for the future. A review of recent examples proves that the conscious integration of tradition and modernity is not only possible, but also an inevitable necessity to respond to contemporary needs and preserve the Iranian-Islamic identity in architecture. This article aims to show that the future of Tehran’s residential architecture depends on learning from past experiences and designing spaces that, while paying attention to functional requirements and environmental sustainability, also maintain a sense of place and connection with local culture. Tehran’s residential architecture over the past half century has been a mirror of the conflicts between tradition and modernity in the context of Iran’s social, economic, and political developments. This study, with a stylistic and historical-comparative approach, analyzes the process of changes in the three main components of architecture, namely form, materials, and design patterns, between 1350 and 1400. In this direction, prominent projects such as the Ekbatan settlement as a symbol of academic modernism, the Mehr housing as an example of low-quality mass construction, and new projects such as the Abshaar Tower, Zeytoon, and the Farahzad renovation have been examined. The findings show that in the 1350s, the elimination of identity-building elements such as the central courtyard and the porch was carried out in line with industrial and modernist patterns. In the 1380s, macro policies such as the Mehr housing, by prioritizing quantity over quality, led to the elimination of spatiality and the creation of textures without identity. In contrast, the 2011s and beyond have witnessed an attempt to redefine traditional elements in a new form; the use of refractory bricks, the creation of elevated courtyards, green roofs, and semi-open spaces are examples of this new trend. The results show that Tehran’s residential architecture has not been a uniform trend but a dynamic process influenced by social, political, and economic forces. Also, a critical return to tradition and its combination with modern technologies can provide a sustainable and distinctive model for the future. A review of recent examples proves that the conscious integration of tradition and modernity is not only possible, but also an inevitable necessity to respond to contemporary needs and preserve the Iranian-Islamic identity in architecture. This article aims to show that the future of Tehran’s residential architecture depends on learning from past experiences and designing spaces that, while paying attention to functional requirements and environmental sustainability, also maintain a sense of place and connection with local culture. معماری مسکونی تهران طی نیم‌قرن گذشته، آیینه‌ای از کشمکش‌های میان سنت و مدرنیته در بستر تحولات اجتماعی، اقتصادی و سیاسی ایران بوده است. این پژوهش با رویکردی سبک‌شناسانه و تاریخی–تطبیقی، به تحلیل روند تغییرات سه مؤلفه‌ی اصلی معماری یعنی فرم، مصالح و الگوهای طراحی در بازه‌ی ۱۳۵۰ تا ۱۴۰۰ می‌پردازد. در این مسیر، پروژه‌های شاخصی چون شهرک اکباتان به‌عنوان نماد مدرنیسم آکادمیک، مسکن مهر به‌عنوان نمونه‌ای از انبوه‌سازی کم‌کیفیت، و پروژه‌های جدیدی چون برج آبشار، زیتون و نوسازی فرحزاد بررسی شده‌اند. یافته‌ها نشان می‌دهد که در دهه‌ی ۱۳۵۰ حذف عناصر هویت‌ساز مانند حیاط مرکزی و ایوان، در راستای پیروی از الگوهای صنعتی و مدرنیستی انجام گرفت. در دهه‌ی ۱۳۸۰ نیز سیاست‌های کلان همچون مسکن مهر، با اولویت‌دادن به کمیت بر کیفیت، موجب حذف مکان‌مندی و ایجاد بافت‌های فاقد هویت شدند. در مقابل، دهه‌ی ۱۳۹۰ به بعد شاهد تلاشی برای بازتعریف عناصر سنتی در قالبی نوین بوده است؛ استفاده از آجر نسوز، ایجاد حیاط مرتفع، بام سبز و فضاهای نیمه‌باز نمونه‌هایی از این گرایش جدید هستند. نتایج نشان می‌دهد که معماری مسکونی تهران نه روندی یکنواخت بلکه فرآیندی پویا و متأثر از نیروهای اجتماعی، سیاسی و اقتصادی بوده است. همچنین، بازگشت انتقادی به سنت و ترکیب آن با فناوری‌های نوین می‌تواند الگویی پایدار و هویت‌مند برای آینده فراهم آورد. بررسی نمونه‌های اخیر ثابت می‌کند که تلفیق آگاهانه سنت و مدرنیته نه تنها ممکن است، بلکه ضرورتی اجتناب‌ناپذیر برای پاسخ‌گویی به نیازهای معاصر و حفظ هویت ایرانی–اسلامی در معماری است. این مقاله بر آن است که نشان دهد آینده‌ی معماری مسکونی تهران، در گرو یادگیری از تجربه‌های گذشته و طراحی فضاهایی است که ضمن توجه به الزامات عملکردی و پایداری زیست‌محیطی، حس مکان و پیوند با فرهنگ بومی را نیز حفظ کنند.