مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 6 23 2026 02 20 From Static Images to Spatial Experience: A Phenomenological Reading of Time in Metro Installation Graphics از تصویر ایستا تا تجربه‌ی فضامند: بازخوانی پدیدارشناختی زمان در گرافیک چیدمانی مترو 732519 10.30508/fhja.2025.2071530.1220 FA راضیه مختاری دهکردی استادیار گروه ارتباط تصویری، دانشکده هنر و علوم انسانی دانشگاه شهرکرد، شهرکرد، ایران. 0000-0002-8076-1277 Journal Article 2025 09 13 Abstract Problem Statement: Urban environmental graphics, when situated as site-specific installations in transit spaces such as metro stations, transcend the static nature of conventional imagery and evolve into temporally and spatially immersive experiences. Despite the increasing prevalence of reactive and location-based graphic interventions, the precise mechanisms by which static images transform into time-based experiences remain underexplored. Moreover, the complex interplay between materiality, technology, environmental dynamics, and the embodied perception of audiences has not been systematically investigated. This gap in knowledge limits both theoretical understanding and practical guidance for designers seeking to optimize environmental graphics for urban transit contexts. Objective: The main objective of this study is to phenomenologically reinterpret the concept of “experienced time” within the intersection of graphic design and metro-based installations. Specifically, the research aims to identify the design strategies, material characteristics, and environmental conditions that mediate the translation of static graphic images into dynamic, time-sensitive, and spatially engaging experiences. Furthermore, the study seeks to explore how these interventions can redefine semiotic structures and shape the distribution of audience attention, providing insights for a conceptual framework that integrates perceptual, bodily, and sign-based dimensions. Research Questions: 1. Which material, mechanical, luminous, and spatial design elements interact with environmental dynamics—such as train movement, air flow, and audience density—to facilitate the transformation of static graphics into temporally dynamic experiences? 2. How does this transformation restructure the semiotic organization of visual content and influence audience attention and perception? 3. What theoretical reconceptualizations within semiotics and phenomenology can be derived from the study of such time-based metro graphics? Methodology: This qualitative research employs a multiple case study approach, selecting three site-specific installations in metro contexts to capture diverse strategies for temporal engagement. The cases include a digital reactive advertising campaign, kinetic installations responding to airflow and mechanical systems, and volumetric, air-responsive interventions. Data were collected from official digital sources, project websites, and visual documentation, and analyzed through a combination of visual-semiotic analysis and phenomenological interpretation of embodied audience experience. This methodological approach emphasizes the interaction between material properties, environmental conditions, and the perceptual engagement of viewers in motion, allowing a holistic understanding of how time-based meaning is produced in graphic interventions. Discussion: The study reveals that the transformation of static graphics into time-based experiences is driven by the synergistic interaction of three main clusters: material and structural characteristics, timing and responsiveness of mechanical or digital systems, and strategic placement relative to audience flow. Environmental factors, such as train movement, air currents, and crowd density, act as active moderators of attention and perception. Semiotic structures evolve from fixed symbolic representations into dynamic, event-based sign systems, where meaning emerges from temporal variation and embodied interaction. Audiences encounter these installations not as passive viewers but as participants whose motion and sensory engagement co-construct the experience. Furthermore, each design approach demonstrates distinct pathways for integrating bodily perception, spatial awareness, and temporal dynamics into the narrative of visual communication. These findings suggest that time-sensitive metro graphics function simultaneously as tools for orientation, aesthetic engagement, and cognitive stimulation, highlighting the importance of considering bodily experience in graphic design for transit environments. Conclusion: The study concludes that effectively designing time-based, site-specific metro graphics requires careful orchestration of material, temporal, and spatial design factors in conjunction with environmental conditions. By recognizing the body as a co-creator of meaning, designers can transform conventional static signage into immersive experiences that regulate attention, communicate information, and enrich the aesthetic quality of urban transit spaces. The research also emphasizes that semiotic structures are not fixed but dynamically constructed through the interaction between the installation, the environment, and the moving audience. These insights offer a conceptual foundation for future investigations into time-sensitive environmental graphics and provide practical guidance for designing immersive, responsive, and perceptually engaging interventions in metro and other high-traffic urban contexts. Additionally, further studies could examine the role of emerging digital technologies and multisensory integration in expanding the temporal and spatial dimensions of environmental graphics, enhancing both user experience and urban aesthetic quality. In sum, the research reframes metro graphics as a temporal design problem as much as a visual one. By treating materiality, timing, and spatiality as interdependent levers, and by recognizing the embodied commuter as an essential co-author of perceptual meaning, designers can craft interventions that do more than inform—they can orchestrate moments of attention, enhance legibility and safety, and elevate the aesthetic quality of urban transit environments. These insights provide both a conceptual foundation for scholarly inquiry and a pragmatic roadmap for practitioners seeking to harness time and motion in the design of more responsive, humane, and perceptually engaging public spaces. Keywords: Metro Graphics, Spatial Experience, Temporal Perception, Phenomenology of Space, Environmental Graphics, Site-Specific Installation بیان مسئله: در گرافیک محیطی معاصر، هنگامی که نشانه‌ها و تصاویر به صورت چیدمان‌های موقعیت‌محور در فضاهای گذر شهری مانند ایستگاه‌های مترو مستقر می‌شوند، مرز میان تصویر ایستا و تجربه فضامند فرو می‌پاشد و پدیداری نوین از زمان و حرکت شکل می‌گیرد. با وجود پروژه‌های متعدد واکنش‌گرا، سازوکارهای دقیق این تحول – از جمله نقش هم‌افزایی ماده، فناوری و عوامل محیطی در تولید معنا و تنظیم توجه – هنوز به طور نظام‌مند واکاوی نشده است. هدف: این پژوهش به بازخوانی پدیدارشناختی و نشانه‌شناسانه «زمان تجربه‌شده» در تقاطع گرافیک و چیدمان مترویی می‌پردازد، با هدف استخراج معیارها و فرایندهای حاکم بر تولید معنا و تنظیم توجه، و پیشنهاد بازتعریف‌هایی در مفاهیم نظری موجود. سؤالات پژوهش: (1)کدام معیارهای مادی، مکانیکی، نوری و موقعیتی، در تعامل با فرایندهای محیطی مترو، گذار از تصویر ایستا به تجربه زمان‌مند را تسهیل می‌کنند؟ (۲) این گذار چگونه ساختار نشانه‌ای و توزیع توجه را دگرگون می‌سازد؟ (۳) چه بازتعریف‌های نظری در پدیدارشناسی بدن از تحلیل این نمونه‌ها قابل استخراج است؟ روش پژوهش: رویکرد کیفی با تمرکز بر مطالعه موردی چندگانه؛ داده‌ها از منابع دیجیتال و مستندات رسمی پروژه‌ها گردآوری شد و تحلیل تلفیقی بصری-نشانه‌ای و پدیدارشناختی بدن بر دو چیدمان منتخب _ کمپین «وزش در باد» آپوتک یارتات و اثر «یاپ-یوم» دیوید پرووان _ اعمال گردید. نتیجه: یافته‌ها نشان داد که تحول تصویر به تجربه زمان‌مند، محصول هم‌افزایی سه خوشه معیار است: ویژگی‌های مادی و ساختاری، زمان‌بندی واکنش‌های مکانیکی/دیجیتال، و جانمایی استراتژیک نسبت به جریان مخاطبان. گرافیک چیدمانی مترو، فراتر از نظام نشانه‌ای ایستا، به پدیده‌ای فضامند و زمان‌مند تبدیل می‌شود که معنا در آن از طریق تعامل بدن زیسته، ریتم‌های محیطی و سازوکارهای طراحی، به صورت فرآیندی و موقعیتی تولید می‌گردد. نشانه‌ها به «رویداد نشانه‌ای» ارتقا یافته و توجه تجسدی به عنوان عامل کلیدی در معناسازی عمل می‌کند.

مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 6 23 2026 02 20 The Conceptual and Structural Continuity of the Square Form in the Historical Evolution of Iranian Architecture; from Chahartaqi to Chaharsuffa and Hasht Behesht پیوستگی مفهومی و کالبدی فرم مربع در سیر تاریخی معماری ایرانی؛ از چهارطاقی تا چهارصفه و هشت‌بهشت 735042 10.30508/fhja.2026.2079335.1233 FA سیده فاطمه موسوی نیا دانشکده معماری و شهرسازی، دانشگاه فردوسی مشهد، مشهد، ایران اکرم حسینی گروه معماری، دانشکده معماری و شهرسازی، دانشگاه فردوسی مشهد، مشهد، ایران. 0000-0001-8080-6925 حانیه رضائی دانشکده معماری و شهرسازی، دانشگاه فردوسی مشهد، مشهد مبینا رمضانی دانشکده معماری و شهرسازی، دانشگاه فردوسی مشهد، مشهد Journal Article 2025 11 29 Iranian architecture, across its long historical development, has consistently expressed symbolic meanings, cosmological concepts, and deeply embedded cultural values. Among the defining characteristics of this tradition is the persistent use of geometric forms—especially the square—as the primary organizing element of architectural space. The square, both as a visual structure and a conceptual symbol, reflects ideas of order, balance, and cosmic harmony. Its enduring presence from pre-Islamic monuments to Islamic and post-Islamic structures highlights the central role geometry has played in shaping Iranian spatial thinking. More than a mere formal device, the square embodies a worldview in which architecture is expected to manifest an underlying cosmic order and a unity between material and metaphysical realms. This study explores how square-based spatial patterns evolved from the chahartaq (four-arched domed unit) to the chaharsafheh (four-portico plan) and ultimately to the hasht-behesht (eight-paradise pavilion). The central research question concerns the ways in which these three spatial models changed over time while maintaining conceptual, geometric, and functional continuity. Unlike many previous studies that examined these architectural types within the confines of a single historical period, this research approaches them comparatively and diachronically. By doing so, it reveals a continuous trajectory that links early Sasanian spatial archetypes to more elaborate Islamic and Safavid-period compositions. Employing a descriptive–analytical methodology and relying primarily on library-based sources, the study examines these three typologies through their structural organization, symbolic meanings, and functional roles. The chahartaq, the earliest form in this evolutionary chain, is typically associated with Sasanian religious and ceremonial architecture. It consists of a domed square chamber with four arched openings on its cardinal axes. This simple yet powerful configuration establishes a spatial core defined by a square footprint and a central dome, symbolizing the cosmic sphere above. Its openness on four sides reinforces the symbolic connection between the earthly and the heavenly, while its square geometry offers stability and orientation. The chahartaq thus forms the prototype for centralized spatial organization in later Iranian architecture. The chaharsafheh, which becomes more frequent in the early Islamic and Seljuk periods, develops the idea of the square-centered space by introducing four projecting iwans or porticos. This expansion transforms the essential geometry of the chahartaq into a more articulated and functional arrangement. The square remains the organizing center, but the added depth and directionality of the four iwans create a more dynamic architectural experience. The chaharsafheh not only increases spatial hierarchy but also enables new uses, including religious, residential, and civic functions. As a transitional typology, it demonstrates how the simple geometric clarity of the chahartaq could evolve into more complex forms while preserving conceptual coherence. The hasht-behesht, which reaches its most refined expression in the Safavid era, represents the culmination of this developmental process. Literally meaning “eight paradises,” the hasht-behesht divides the square into eight symmetrically arranged chambers surrounding a central domed hall. This composition draws on both geometric subdivision and symbolic references to paradise in Persian cultural and religious traditions. The typology integrates architecture with garden design, environmental orientation, and metaphysical symbolism. Its balanced structure, axial relationships, and interplay of open and enclosed spaces demonstrate the maturity of Iranian architectural principles. Rather than representing a simple expansion of earlier forms, the hasht-behesht synthesizes geometry, meaning, and functionality into a cohesive architectural language that bridges built space and landscape. The findings of the study indicate that these three typologies form a continuous sequence rather than isolated architectural solutions. Each stage reflects both preservation and transformation of the square-based system. The chahartaq introduces the essential idea of the centralized square space; the chaharsafheh expands and diversifies its spatial and functional potential; and the hasht-behesht elevates the system into a highly integrated structure that embodies symbolic, aesthetic, and environmental dimensions. This progression demonstrates how Iranian architecture evolved from simple geometric units into elaborate and meaningful spatial compositions. Ultimately, the study argues that the persistent use of the square throughout Iranian architectural history is rooted in more than formal preference. It reflects an enduring worldview that seeks harmony between material form and metaphysical meaning. Across different periods and functions, the square operates as a unifying symbol that ties architecture to philosophical ideas, ritual practices, and aesthetic traditions. The evolution from chahartaq to chaharsafheh to hasht-behesht illustrates the adaptive capacity of Iranian architecture to reinterpret foundational spatial concepts across changing historical contexts. By tracing this continuity, the research provides a deeper understanding of how geometry, symbolism, and function interact in shaping one of the world’s most distinctive architectural traditions. بیان مسئله : معماری ایرانی در دوره‌های تاریخی متکی بر الگوهای هندسی و نمادین بوده است که در میان آن‌ها «فرم مربع» جایگاهی ویژه دارد. چهارطاقی، چهارصفه و هشت‌بهشت سه نمونه شاخص از الگوهای فضایی مبتنی بر مربع‌اند که در مطالعات پیشین عمدتاً به‌صورت منفرد بررسی شده‌اند. فقدان رویکرد تطبیقی و عدم تحلیل روند تکامل این سه الگو، موجب شده درک جامعی از پیوستگی ساختاری و مفهومی میان آن‌ها شکل نگیرد. هدف پژوهش :هدف این پژوهش تحلیل تطبیقی چهارطاقی، چهارصفه و هشت‌بهشت با تأکید بر تحول ساختاری، مفهومی و عملکردی آن‌ها و روشن‌سازی روند تکامل الگوهای مربع‌محور در معماری ایرانی از دوره ساسانی تا صفوی است. سؤال تحقیق:فرم مربع در الگوهای فضایی معماری ایرانی چگونه از چهارطاقی به چهارصفه و سپس به هشت‌بهشت دگرگون شده است و چه پیوستگی‌های مفهومی، کالبدی و عملکردی میان این سه الگو وجود دارد؟ روش تحقیق: این پژوهش با رویکرد توصیفی–تحلیلی انجام شده و داده‌های آن از طریق مطالعات کتابخانه‌ای، اسناد تاریخی، منابع پژوهشی و تحلیل نمونه‌های شاخص معماری ایرانی جمع‌آوری شده است. روش تحلیل، تطبیقی و مبتنی بر بررسی ساختار هندسی، سازمان فضایی و معناشناسی سه الگو است. نتیجه‌گیری: یافته‌ها نشان می‌دهد که چهارطاقی، چهارصفه و هشت‌بهشت سه مرحله از تکامل یک نظام فضایی مشترک‌اند و نه ساختارهایی مستقل و گسسته. چهارطاقی با مربعِ مرکزی و گنبد، بنیانِ مفهوم مرکزیت قدسی را تثبیت می‌کند. چهارصفه با توسعه جهتی و کارکردی این مرکزیت، الگوی فضایی پیچیده‌تری پدید می‌آورد. هشت‌بهشت اوج تلفیق هندسه، عملکرد و منظر است و ترکیب مربع و باغ را در قالب هندسه‌ای متعالی ارائه می‌دهد. تداوم فرم مربع در این سه الگو بیانگر جهان‌بینی ایرانی است که در آن وحدت میان فرم، معنا و عملکرد محور سازماندهی فضاست. این روند تکاملی نشان می‌دهد که معماری ایرانی با حفظ ریشه‌های هندسی، توانسته مفاهیم قدسی و عملکردهای متنوع را در ساختاری واحد ادغام کند.

مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 6 23 2026 02 20 Flow theory as a cognitive stimulus to enhance designers' creative performance تجربه جریان به‌عنوان محرک شناختی برای ارتقای عملکرد خلاقانه طراحان 735044 10.30508/fhja.2026.2086310.1241 FA الهه حسنخوئی استادیار گروه معماری، موسسه آموزش عالی فردوس، مشهد، ایران. سحر اصیلی دانشجوی کارشناسی ارشد معماری داخلی، موسسه آموزش عالی فردوس، مشهد، ایران. Journal Article 2026 02 22 Problem Statement: Creativity is widely recognized as one of the most decisive factors in the success of design processes. In architecture and other design disciplines, the ability to generate original, meaningful, and context-sensitive ideas directly shapes the quality, functionality, and aesthetic value of final outcomes. Designers are constantly expected to respond to complex problems, reconcile technical limitations with artistic vision, and produce innovative solutions within limited timeframes. However, contemporary professional environments—particularly architectural offices—are often characterized by tight deadlines, financial pressures, client demands, and multitasking. Such conditions can fragment attention, reduce intrinsic motivation, and ultimately diminish creative performance. In this context, understanding the psychological conditions that foster optimal performance becomes essential. One theoretical framework that offers valuable insight is Flow Theory, introduced by Mihaly Csikszentmihalyi. Flow describes a mental state of deep immersion and engagement in an activity, where individuals experience intense concentration, a balance between challenge and skill, a sense of control, and intrinsic enjoyment. During flow, distractions fade, self-consciousness diminishes, and time may seem distorted. This optimal psychological state has been associated with enhanced productivity, satisfaction, and personal growth. Although flow has been examined extensively in educational settings, sports, and artistic performance, its role as a cognitive stimulus within professional architectural practice remains underexplored. Design work is inherently cognitive and creative; it requires sustained attention, problem-solving ability, and imaginative thinking. Yet, limited empirical research has specifically investigated how the components of the flow state influence designers’ creative performance in real workplace contexts. Therefore, examining flow not merely as a pleasant experience but as a structured cognitive mechanism that can enhance creativity represents a significant research gap. The present study addresses this gap by exploring how the experience of flow can contribute to improving the creative performance of designers in professional environments. Research Objective: The primary objective of this study is to identify the key components of the flow state that significantly influence designers’ creativity. By analyzing these components—such as clear goals, immediate feedback, balance between skill and challenge, deep concentration, and intrinsic motivation—the research seeks to clarify how each element contributes to optimal creative functioning. Furthermore, the study aims to translate these theoretical insights into practical strategies that can be implemented within architectural workplaces. By proposing evidence-based solutions grounded in flow theory, this research aspires to provide managers, educators, and professional trainers with actionable recommendations to enhance creativity, innovation, and overall design quality. Research Questions: This study is guided by two main research questions: 1. What are the components of the flow state that most significantly affect optimal performance in professional design contexts? 2. Based on these components, what practical solutions can be developed to enhance designers’ creativity in architectural workplaces? These questions aim not only to deepen theoretical understanding but also to bridge the gap between psychological theory and design practice. Research Method: The study was conducted using a mixed-method approach, combining qualitative and quantitative strategies to ensure both conceptual depth and empirical validation. In the first stage, an extensive review of academic literature related to flow theory, creativity, and design performance was undertaken. Through library-based research and theoretical analysis, a preliminary conceptual model was developed, outlining the potential relationships between flow components and creative performance. In the second stage, the model was tested and refined through field research. Semi-structured interviews and structured questionnaires were administered to architecture professors and practicing architects with at least five years of professional experience in architectural offices. This criterion ensured that participants possessed sufficient practical insight into real-world design challenges. Qualitative data from interviews provided nuanced perspectives on how flow is experienced in design practice, while quantitative data from questionnaires enabled statistical validation of the relationships proposed in the conceptual model. In the final stage, the findings from both phases were integrated. Based on the confirmed components and their measured impact on creative performance, a set of practical recommendations was formulated. These recommendations focus on organizational design, task structuring, feedback systems, and environmental conditions that facilitate the emergence of flow in professional settings. Conclusion: The findings of this research demonstrate that the experience of flow functions as a powerful cognitive stimulus that significantly enhances designers’ creative performance. Designers who enter a flow state exhibit stronger concentration, improved problem-solving capabilities, and a greater capacity to generate innovative and original ideas. The balance between challenge and skill, clarity of goals, and timely feedback were identified as particularly influential components in fostering creative outcomes. Moreover, the study suggests that creativity is not solely a matter of individual talent but is deeply influenced by environmental and organizational conditions. Designing educational and professional environments that intentionally support the emergence of flow—through structured challenges, reduced distractions, autonomy in decision-making, and constructive feedback—can serve as an effective strategy for increasing both creativity and the overall quality of design outputs. These results underscore the importance of integrating cognitive and psychological considerations into the management of architectural workplaces. By recognizing flow as a measurable and cultivable state rather than a random occurrence, managers and educators can create conditions that systematically enhance creative performance. Ultimately, this research contributes to a more human-centered understanding of design productivity, emphasizing that optimal creativity emerges when skill, challenge, motivation, and environment are harmoniously aligned. Keywords: Flow theory, creativity, designer, creative workplace. بیان مسئله: خلاقیت یکی از عوامل کلیدی موفقیت در فرآیند طراحی است و توانایی طراحان در تولید ایده‌های نوآورانه بر کیفیت خروجی‌های طراحی تأثیر مستقیم دارد. محدودیت‌های زمانی و فشارهای کاری می‌تواند عملکرد خلاقانه را کاهش دهد. نظریه جریان (Flow) تجربه‌ای روان‌شناختی است که تمرکز عمیق، انگیزه ذاتی و رضایت فردی را افزایش می‌دهد و می‌تواند محرکی برای ارتقای عملکرد خلاقانه باشد. با این حال، نقش جریان به‌عنوان محرک شناختی در طراحی حرفه‌ای کمتر بررسی شده است. هدف پژوهش: هدف اصلی این پژوهش، شناسایی مؤلفه‌های وضعیت جریان، مؤثر بر خلاقیت طراحان و ارائه راهکارهایی مبتنی بر این مؤلفه‌هاست که بتوانند موجب افزایش خلاقیت طراحان در محیط کار معماری شوند. سؤال پژوهش: مؤلفه‌های وضعیت جریان که مؤثر بر عملکرد بهینه هستند کدامند؟ و راهکارهای منتج از این مؤلفه‌ها در جهت افزایش خلاقیت طراحان چیست؟ روش پژوهش: این پژوهش با رویکردی ترکیبی (کیفی–کمی) انجام شده است. مرحله اول بصورت کیفی با استفاده از مطالعات کتابخانه‌ای منتج به مدل مفهومی گردید و در مرحله بعد با استفاده از مصاحبه و پرسشنامه از اساتید و معماران با حداقل 5 سال سابقه کار در دفاتر معماری، یافته‌های مرحله اول تأیید و تکمیل گردید و سپس منطبق بر آن در مرحله انتهایی به ارائه راهکار منتج گردید. نتیجه‌گیری: یافته‌های پژوهش نشان می‌دهد تجربه جریان به‌عنوان یک محرک شناختی، تأثیر قابل توجهی بر ارتقای عملکرد خلاقانه طراحان دارد. طراحانی که در حالت جریان قرار می‌گیرند، توانایی بیشتری در تمرکز، حل مسئله و تولید ایده‌های نوآورانه دارند. طراحی محیط‌ها و فرآیندهای آموزشی با هدف تسهیل تجربه جریان می‌تواند راهبردی مؤثر برای افزایش خلاقیت و کیفیت خروجی‌های طراحی باشد. این نتایج بر اهمیت توجه به عوامل ‌شناختی در فرآیند طراحی تأکید دارد و می‌تواند راهنمای عملی برای مدیران و مربیان حرفه‌ای باشد. واژگان کلیدی: نظریه جریان، خلاقیت، طراح، محیط کار خلاق.

مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 6 23 2026 02 20 Identifying and Analyzing Artistic Components in the Bronze Industry of Ancient Lorestan شناسایی و واکاوی مؤلفه‌های هنری در صنعت مفرغ‌سازی لرستان باستان 736310 10.30508/fhja.2026.2082581.1238 FA علی سجادی استادیار پژوهشکده باستان‌شناسی، پژوهشگاه میراث فرهنگی و گردشگری، تهران، ایران 0000-0001-6304-9934 Journal Article 2025 12 30 Abstract The bronzes of Lorestan are a familiar name to specialists in art history and archaeology. These ancient artworks display a unique fusion of abstraction and precise technical principles. Beyond utilizing the technical knowledge of their time, they demonstrate a profound connection and harmony between art and industry. This harmony is manifested in their form and function, diversity of designs, mythological symbolism, cryptic expression of religious concepts, and mastery of the intricacies of metalworking. The delicacy of these bronzes attests to the extraordinary skill, technical mastery, and aesthetic sensibility of the artisans of their era, who have been evaluated by many researchers as symbols of Iran's true art. However, some studies have sought the origin of this art outside of Iran's borders. Therefore, a systematic analysis of the artistic components of these authentic Iranian works can be effective in clarifying these historical ambiguities. Of these authentic Iranian works can be effective in clarifying these historical ambiguities. Employing a descriptive-analytical method and selecting samples from various categories of Lorestan bronze objects, this article aims to examine the art of bronze-making and analyze the artistic creativity of its makers. To identify and introduce prominent artistic characteristics related to the industry of producing these works, it addresses two central questions: 1. What are the most significant artistic components employed in the bronze industry of ancient Lorestan? 2. In the construction of bronze objects, was there a logical relationship between function, industry/craft, and art? The research findings indicate that Lorestan bronze objects, while having specific practical functions, reside at the highest levels of artistic criteria in terms of the integration of art and industry within their body, volume, form, decorations, and scale. They have established a logical and creative connection between these three fundamental elements (function, industry/craft, and art) Identified Traces Lorestan bronzes hold a special place in the world due to their advanced crafting techniques, balanced and beautiful forms, and unique artistic designs. Among their most important artistic components are the following: 1. Masterful Metalworking Skill: Artists, utilizing advanced alloying knowledge and complex techniques such as casting and engraving, created flawless works with visual balance (both symmetrical and asymmetrical) and exquisite forms. 2. Artistic Combination of Function and Beauty: In these artifacts, practical use, meaning, form, and decoration are inextricably intertwined. Beauty served as a conduit for confirming functionality and conveying deeper religious and symbolic concepts. 3. Rich Symbolic and Mythological Concepts: The motifs are filled with mythological and composite creatures (such as griffins) that depict a cryptic world. These symbols are rooted in religious beliefs and, over time, moved towards meaningful abstraction. 4. Integration of Functional and Ritual Perspectives: Even utilitarian objects (like horse bits) were intelligently designed to be both beautiful and useful. Many works have clear ritual and religious applications. 5. Cultural Connecting Link: This art form carries ancient Iranian traditions and created a vital bridge between the pre-historic period and later civilizations (especially the Medes and Achaemenids). While possessing an independent identity, it was influenced by neighboring civilizations (such as Mesopotamia) and also influenced them. 6. Multiplicity and Diversity: Diversity in decorative motifs (geometric and floral repetition) and iconography (depicting a single subject in various states), along with small yet highly detailed figurines, enriched this collection. 7. Application of Three-Dimensional Art Technique in Bronze Objects: Some Lorestan bronze figurines were designed and crafted with exceptional skill so that their main face or design appears fully and identically from all four directions. This multi-faceted, fully three-dimensional feature demonstrates the pinnacle of technical mastery and the fusion of art and industry in ancient times, attesting to the astonishing prowess of ancient metalworkers. 8. Exaggeration in Decorations and Forms: A distinctive feature of the Lorestan bronze artist was the exaggeration in decorations and forms to express philosophical and mythological concepts. Inspired by the surrounding environment and maximizing the capabilities of the metal, they employed exaggerated design. In these works, the prominent use of curved lines is evident, an approach that later reached its zenith in the Parthian style. 9. Iconography and Sculpture: A prominent feature of Lorestan bronzes is their visual art, iconography, and execution of the "full-face law" (frontal view), which is manifested in perfect harmony with the craft of their making. Conclusion From the millennia before Christ until the formation of states, the language of art has been the finest tool with which artists have expressed their inner thoughts and concerns. Among these, the bronzes of Lorestan, whether intentionally or not, over these millennia have become a fitting medium for transmitting ancient art and traditions, as well as religious, symbolic, and mythological concepts. They have conveyed countless sealed secrets of their ideas, thoughts, experiences, and artistic evolution to subsequent generations. Perhaps the fusion of art and function with symbolic and abstract concepts in the Lorestan bronzes is even more important than the discovery of bronze metal itself. The creators of Lorestan bronzes achieved such a degree of expertise and creativity that they were able to shape the formidable bronze metal like wax into desired forms and engrave their preferred motifs and themes onto them. It is precisely this union of industry and art within the body of these works that gave rise to the golden age of Iranian art. The technique of three-dimensional and multi-faceted art in bronze objects, besides demonstrating the artisan's technical and structural mastery, represents the highest level of integration between art and industry in ancient times. Among the bronze objects, we witness small (miniature) figurines that, despite their small size, still possess artistic delicacy with precision and beauty. In summary, the bronzes of Lorestan are not merely functional or decorative objects; rather, they express a complex worldview, deep beliefs, and the pinnacle of the art and industry of a society that, with astonishing skill, placed material in the service of expressing spirituality and beauty. Acknowledgments The authors extend their sincere gratitude to the anonymous peer reviewers for their insightful critiques and constructive suggestions, which significantly enhanced the clarity and scholarly rigor of this manuscript. مفرغ‌های لرستان برای متخصصان تاریخ هنر و باستان‌شناسی جایگاهی شناخته‌شده دارند. این آثار هنری، تلفیقی منحصربه‌فرد از انتزاعِ (با گرایش به اکسپرسیونیسم) و اصولِ فنیِ دقیق را به نمایش می‌گذارند. بررسی سیر تحول این صنعت، پیوند ناگسستنی هنر و صنعت در تمدن ایران را آشکار می‌سازد. به‌گونه‌ای که فراتر از بهره‌گیری از دانش فنی زمانه، هماهنگی عمیقی میان هنر و صنعت را پدیدار ساخته‌اند. این هماهنگی در فرم و کارکرد، تنوع طرح‌ها، نمادگرایی اساطیری، بیان رمزآلود مفاهیم دینی و تسلط بر ظرایف تکنیکی فلزکاری متجلی شده است. ظرافت مفرغ‌ها گواهی بر مهارت فوق‌العاده، تسلط فنی و نگرش زیبایی‌شناختی صنعتگران عصر خود است که از سوی بسیاری از پژوهندگان، به‌عنوان نماد هنر حقیقی ایران ارزیابی شده‌اند. بااین‌حال، برخی پژوهش‌ها خاستگاه این هنر را بیرون از مرزهای ایران جستجو کرده‌اند؛ بنابراین، واکاوی نظام‌مند مؤلفه‌های هنری این آثار اصیل ایرانی می‌تواند در روشن‌سازی این ابهامات تاریخی مؤثر باشد. این مقاله با روش توصیفی - تحلیلی و با انتخاب نمونه‌هایی از دسته‌های مختلف اشیای مفرغی لرستان (از موزه فلک‌الأفلاک و سایر موزه‌های معتبر)، باهدف بررسی هنر مفرغ‌سازی و واکاوی خلاقیت‌های هنرمندانه سازندگان آن، برای شناسایی و معرفی ویژگی‌های بارز هنری، مرتبط با صنعت ساخت این آثار به دو پرسش محوری پاسخ می‌دهد: 1-مهم‌ترین مؤلفه‌های هنری به‌کاررفته در صنعت مفرغ‌سازی لرستان باستان کدام‌اند؟ 2-آیا در ساخت اشیای مفرغی، رابطه‌ای منطقی میان کارکرد، صنعت و هنر برقرار بوده است؟ یافته‌های پژوهش نشان می‌دهد که اشیای مفرغی لرستان، ضمن دارابودن کارکردهای مشخص و کاربردی، ازنظر تلفیق هنر و صنعت در کالبد، حجم، فرم، تزیینات و مقیاس، در بالاترین سطوح معیارهای هنری قرار دارند و پیوندی منطقی و خلق‌شده بین این سه عنصر بنیادین (کارکرد، صنعت و هنر) برقرار کرده‌اند.

مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 6 23 2026 02 20 Presenting Interior Architectural Solutions for Residential Spaces with a Flexibility Approach (Based on Comparative Studies) ارائه راهکارهای معماری داخلی فضای مسکونی با رویکرد انعطاف پذیری (بر پایه مطالعات تطبیقی) 737140 10.30508/fhja.2026.2087446.1242 FA سروش آهویی دانشجوی کارشناسی ارشد معماری داخلی موسسه آموزش عالی فردوس وحید حسین زاده عضو هیات علمی موسسه آموزش عالی فردوس مشهد Journal Article 2026 04 28 Abstract With accelerating rates of urban density worldwide, particularly in metropolitan regions, the average floor area of residential units has been steadily shrinking. At the same time, domestic behaviors, family structures, and working arrangements, such as remote work, are evolving faster than ever before. Consequently, the demand for flexible interior spaces has moved from a desirable design feature to a critical necessity. Flexibility in this context refers to the capacity of a space to change its function over time, whether to meet new daily demands, adapt to life transitions (having a child, aging in place, or home office conversion), or accommodate multiple incompatible uses simultaneously within the same footprint. This kind of adaptability prevents premature obsolescence of housing units and reduces the need for frequent relocation or costly renovations. Given these emerging challenges, it is essential to formulate design strategies that adequately respond to dynamic user needs. Without built in flexibility, residential spaces risk becoming mismatched to occupants actual lives, leading to dissatisfaction, underutilization, or abandonment. Therefore, understanding which architectural and interior design factors most effectively enable spatial flexibility is a fundamental issue, not only for occupant well being but also for extending the useful lifespan of residential units. A longer functional lifespan, in turn, supports resource efficiency and aligns with principles of sustainable development. Against this background, the present article conducts a comparative analysis aimed at identifying the key factors that contribute meaningfully to the realization of spatial flexibility in residential environments. The research adopts a qualitative analytical methodology. This approach involves the systematic examination of successful built case studies, selected from various geographical and cultural contexts, where flexibility has been deliberately implemented and evaluated post occupancy. By comparing these cases, the study distills recurring strategies, material choices, and spatial configurations that demonstrably enhance adaptability. Through this comparative analysis, several critical factors emerge as significantly effective. First, open plan organization combined with the deliberate removal of redundant fixed partitions emerges as a foundational strategy. Without load bearing walls subdividing the interior, residents can reconfigure zones according to changing needs, from fully open layouts to subdivided rooms. Second, the use of lightweight and movable materials, such as sliding panels, curtain walls, or demountable stud walls, allows non destructive reconfiguration. Third, the integration of foldable, multi functional, and modular furniture systems (sofa beds, expandable tables, stackable seating, or wall bed units) dramatically increases the number of use cases for a given floor area. Fourth, the application of adaptable partition systems, including telescopic walls, rotating screens, or accordion doors, enables rapid switching between privacy and openness. Together, these factors do not operate in isolation; rather, their combined application yields the highest degree of spatial flexibility. In today’s world, where modern urban dwellers face diverse housing challenges such as high real estate costs, limited square meterage, and uncertain long term spatial needs, flexible architecture offers an effective and long term strategic response. Flexibility is not a singular property but rather a multi dimensional concept. It derives its meaning from the continuous interaction among three interrelated dimensions: spatial structure and organization (geometry, circulation, zoning), physical technical components (movable walls, modular flooring, adjustable lighting), and functional performance (how daily activities are accommodated). When these dimensions are aligned, the interior environment can respond to the changing activities, preferences, and life stages of its inhabitants over time without demolition or reconstruction. Based on these findings, the present study proposes a conceptual model that synthesizes the identified factors and their interrelationships. This model serves as a practical guide for architects and interior designers during both the design of new residential units and the retrofitting of existing ones. By adopting the principles of spatial flexibility, designers can enhance the quality of interior environments, making them more responsive, comfortable, and adaptable. Improved occupant satisfaction follows naturally from living in a home that evolves with its users rather than against them. In conclusion, emphasizing the approach of spatial flexibility represents a significant and necessary step toward a sustainable architecture. Sustainability here extends beyond environmental metrics to include social durability: a home that adapts to the biological and social transformations of contemporary humanity, such as aging populations, multi generational living, or fluctuating household sizes, remains relevant and loved for decades. Therefore, integrating flexibility as a core design principle should be seen not as an optional innovation but as a fundamental responsibility of twenty first century residential design. 1- چکیده 1-1بیان مسئله با افزایش تراکم شهری و کمتر شدن روزافزون متراژ واحد های مسکونی و همچنین تغییر الگوهای رفتاری خانواده‌ها در گذر زمان، نیاز به فضاهای داخلی انعطاف پذیر بیش از پیش حس می‌شود. این قابلیت باعث می‌شود که یک فضا بتواند در گذر زمان متناسب با نیاز‌های زمان خود تغییر کاربری بدهد و یا حتی چند کاربری را بطور همزمان در خود جای بدهد. 2-1 هدف این مقاله در راستای ارائه راهکارهای مبتنی بر انعطاف‌پذیری فضایی، سعی در شناسایی عوامل تاثیرگذار در انعطاف فضایی، شناسایی عوامل مشوق استفاده از انعطاف فضایی و بررسی بازتاب این عوامل در نمونه‌های موردی دارد. 3-1 سؤالات موضوع مقاله سؤالاتی بنیادین را پیرامون انعطاف فضایی بیان می‌کند. از جمله این‌که چه عواملی می‌تواند افراد را به استفاده از مفهوم انعطاف فضایی تشویق کند و اگر افراد مایل به بهره‌گیری از مفهوم انعطاف‌ فضایی باشند، به وسیله کدام مؤلفه ها می‌توانند این انعطاف فضایی را در محیط خود به وجود بیاورند. 4-1 روش تحقیق مقاله موجود، یک روش پژوهش کیفی را دنبال می‌کند که با رویکرد توصیفی-تحلیلی و کمک گرفتن از روش گردآوری منابع کتابخانه‌ای و روش تحقیق فراترکیب، به شناسایی مؤلفه‌های انعطاف فضایی می‌پردازد و با تطبیق‌دادن مدل مفهومی خود با پروژه‌های موفق، راستی‌آزمایی فرضیات و یافته‌های خود را انجام می‌دهد. 5-1 نتیجه‌گیری معماری انعطاف‌پذیر می‌تواند یک راهکار مؤثر و بلند مدت برای طراحی مسکن افراد به‌شمار‌آید که در تعامل میان ساختار و سازمان فضایی، پاسخگوی نیازهای متغیر افراد در طول زمان است. انعطاف‌‎پذیری می‌تواند در مقیاس‌ها و شدت‌های متفاوت، از راهکارهای کم‌هزینه مانند مبلمان‌چندمنظوره و پارتیشن‌های متحرک تا راهکارهای سازه‌ای مانند استفاده از پلان‌های باز یا درنظر گرفتن فضاهای قابل حذف و الحاق نمود پیدا کند. انعطاف فضایی فقط وابسته به راهکار‌های پیچیده نیست، بلکه با یک نگرش آگاهانه و کمترین هزینه ممکن نیز می‌توان از راهکارهای انعطاف فضایی بهره‌مند شد.

مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 6 23 2026 02 20 Narrative Analysis of the mentions (Adhkar) Taken from the Holy Quran in "Fereydoun Strikes to Zahhak" in Shahnameh of Tahmasp (I) روایت‌شناسی اذکار برگرفته از قرآن‌کریم در نگاره «ضربه زدن فریدون به ضحاک» در شاهنامه شاه‌تهماسبی 737319 10.30508/fhja.2026.2077028.1230 FA فاطمه غلامی هوجقان گروه مطالعات عالی هنر، دانشکده هنرهای تجسمی، دانشگاه تهران، تهران، ایران 0000-0002-6249-1568 حسن بلخاری قهی استاد تمام گروه مطالعات عالی هنر، دانشکده هنرهای تجسمی، دانشکدگان هنرهای زیبا، دانشگاه تهران، ایران 0000-0002-7927-5116 مینا صدری دانشیار گروه نقاشی و مجسمه سازی، دانشکده هنرهای تجسمی، دانشکدگان هنرهای زیبا، دانشگاه تهران، ایران 0009-0005-6120-0422 Journal Article 2025 11 07 1. Introduction Shahnameh of Tahmasp (I) is one of the finest illustrated manuscripts in all periods of Iranian history and even world history. This edition is unique in terms of its illustration techniques and the high quality of its design elements, its layout technique and its very large size. Unfortunately, was not purchased all at once during the second Pahlavi period and ultimately suffered a tragic fate. Research Question(s) What were the reasons for the artist's interference with Quranic verses and the creation of special adhkar? 2. Literature Review Numerous researchers have analyzed the depictions of the confrontation between Fereydoun and Zahhak from various angles, the most relevant of which, in chronological order, are as follows: Moludi Arani (2022) in his article "Ferydoun's Victory over Zahhak: A Study of a Pictorial Pattern as an Independent Narrative of Ferdowsi's Shahnameh in Cultural Materials of the Sixth to Eighth Centuries AH" believes that the pictorial pattern of a bull rider with a mace, which represents the narrative of Fereydoun's capture of Zahhak, is an independent narrative of Ferdowsi's Shahnameh, a characteristic that is never mentioned in Ferdowsi's narrative, but is emphasized in numerous other written sources. In general, most researchers, when examining this visual narrative, have not taken into account the spirit of the time when these works were produced and the breadth and depth of Iranian epics in the collective memory of the society of that period. They have simply attributed the model of Fereydoun riding a cow to the Shahnameh by looking at history from today and due to the great fame of the Shahnameh. Arabbeigi (2017) in his article “An Analysis of Images of Fereydoun’s Victory over Zahhak in Iranian Pottery, 6th and 7th Centuries AH” believes that the images of pottery from the 6th and 7th centuries AH in Iran on the subject of Fereydoun taking Zahhak to Mount Damavand were simultaneously influenced by written, historical and oral narratives, and no narratives comparable to these images can be found in any of the written sources. However, the most complete written account of the story of Fereydoun's victory over Zahhak is the Shahnameh, and although it does not correspond to the images under study, its indirect influence on the images can be observed. The Shahnameh, by having a favorable position in the literature of that period, has given double credibility to the account of Fereydoun's victory over Zahhak as a suitable subject for illustration. Bani Asadi (2014) states in his article "A Study of Illustrations Related to the Story of Zahhak in Shah Tahmaspi's Shahnameh from the Perspective of Illustration" that the illustrators of the Shahnameh, respecting the tradition and aesthetics of their era, have achieved this issue: each illustration, apart from being an independent work, is a link in a visual chain that reflects a specific text, and despite the presence of multiple illustrators, the use of common visual elements has brought the illustrations closer together and created continuity and visual coherence in the illustrations under study, which are considered as a complete illustrated narrative. In his article “A Comparative Study of the Visual Structure of the Battle of Fereydoun and Zahhak in the Schools of the Safavid Period,” Kazemi (2012) analyzes the structural aspects of the aforementioned paintings and acknowledges that the themes of all the paintings under study are heroic, and that diversity and mobility are seen in most of the works, and that the figures are connected. In sum, none of the aforementioned studies mentions the connection between the text in the painting (whether related to the building or not) and the story of the painting, and the lack of such research is quite evident. 3. Methodology In this study, we examine the Quranic inscriptions in one of the paintings of this Shahnameh, entitled "Fereydoun Strikes to Zahhak", We have investigated the mainly logical reasons for the connection between the story of the painting and the Quranic inscriptions, and we have discussed the reasons for the artist's intervention in transforming Quranic verses into dhikr and using it in the calligraphic inscriptions associated with the building in the painting. This issue may seem simple and superficial, but it has deep religious and mystical implications and provide a more reliable answer. The present study is qualitative and has analyzed the painting in question with a descriptive-analytical approach. 4. Results The results of the study indicate that admonitions, and phrases used in the painting, we realize that the vast majority of phrases taken from the Holy Quran, such as «یَا مُفَتَّحَ الْأَبْوَابُ», are mainly nominal sentences, and as we know from the perspective of Arabic grammar, nominal sentences (sentences without a verb) have higher and greater power, extension, and stability than verbal sentences (sentences with a verb). Therefore, they were used by architects and builders in their buildings due to the aforementioned superiority, and painters have also reflected this. In this painting, Sultan Muhammad, by mentioning the phrase «یَا مُفَتَّحَ الْأَبْوَابُ» taken from verse 50 of the Holy Surah (Ṣād) above the door through which Fereydoun entered, emphasizes God’s support in Fereydoun’s victory and declares God (in the form of Soroush’s inspiration to Fereydoun) to be the cause of his victory. As can be seen, the connection between the phrase used and its application in the painting is quite clear and evident, and the artist identifies with Fereydoun and wishes him victory. Sultan Muhammad, in accordance with his needs, by mentioning “یا” at the beginning of the verse and deleting «ـةً» [from“مُفَتَّحَةً”] and“, “لَهُمُ” has achieved the phrase “O you who open the doors” which has a metaphorical connotation and in this scene God is addressed and present in the scene (see: Table 4). 5. Conclusion In summary, it can be said that the illustrator used the adhkar taken from the verses of the Holy Quran consciously and in order to identify with the protagonist of the story (Fereydoun). شاهنامه شاه تهماسبی از جمله نفایس متون و نسخ خطی مصور در تمام ادوار تاریخ ایران و بلکه تاریخ جهان می‌باشد. این نسخه چه به لحاظ فن کتاب‌آرایی و چه به لحاظ قطع بسیار بزرگ خود در دنیا کم‌نظیر است و شوربختانه در دوره پهلوی دوم به صورت یکجا خریداری نشده و در نهایت سرنوشت غم‌باری را از سر گذراند. در این پژوهش به بررسی کتیبه‌های قرآنی موجود در یکی از نگاره‌های این شاهنامه با عنوان «فریدون به ضحاک ضربه می‌زند» پرداخته‌ و دلایل عمدتاً منطقی ارتباط میان داستان نگاره و کتیبه‌های قرآنی را جویا شده و به دلایل دخل و تصرف هنرمند در تبدیل آیات قرآنی به ذکر و استفاده از آن در کتیبه‌های خوشنویسی وابسته به بنا در نگاره پرداخته‌ایم، مسئله‌ای که ممکن است ساده و سطحی به نظر برسد، اما دارای مفاهیم عمیق دینی و عرفانی بوده که می‌توان به پاسخهای متقنتری دست یافت. تحقیق حاضر به صورت کیفی بوده و با رویکرد توصیفی- تحلیلی نگاره مورد نظر را واکاوی کرده‌است. نتایج پژوهش حاکی از آن است که ممکن است نگارگر اذکار برگرفته از آیات قرآن کریم را به صورت آگاهانه و در جهت همذات‌پنداری با قهرمان داستان (فریدون) به کار برده‌ باشد.