Manifestation of Art in Architecture and Urban Engineering

This study aims to examine the role of urban landscape design in improving psychological and social behaviors of citizens in post-disaster areas, focusing on Sarpol-e Zahab. A descriptive-analytical and mixed-method approach was used. Theoretical foundations were first collected through documentary research, followed by field data collected via a researcher-made questionnaire administered to 381 residents of Sarpol-e Zahab. Sampling was performed using Cochran's formula with simple random selection. The questionnaire comprised demographic questions, post-disaster landscape evaluation, and assessments of psychological and social outcomes. Validity was confirmed by experts and reliability via Cronbach’s alpha. Data were analyzed using SPSS and one-sample t-tests. In addition, 15 semi-structured interviews were conducted for qualitative insights. The one-sample t-test showed a significant effect of urban landscape design on psychological well-being (t=8.92, p<0.01) and social behavior (t=7.35, p<0.05). Moreover, 91% of respondents agreed that redesigned public spaces restored a sense of safety and psychological calm. The qualitative findings revealed that reconstructed landscapes were seen as symbols of vitality and a return to everyday life. Post-disaster urban landscape design extends beyond physical reconstruction and contributes to mental recovery, social cohesion, and urban identity. Incorporating participatory approaches and psychological considerations in design enhances urban resilience in crisis contexts.

The central issue of this study is to examine the role of architecture, lighting, and mise-en-scène in creating suspense and psychological instability among audiences of David Fincher’s crime cinema, with a specialized focus on three films: Se7en (1995), Fight Club (1999), and Zodiac (2007). The statistical population consisted of 278 expert audiences in the fields of cinema, architecture, and psychology, selected through standardized environmental anxiety assessment questionnaires, as well as 12 semi-structured interviews. The sampling was purposeful, drawn from among graduates and professionals related to the subject areas. The research employed a mixed-methods approach (qualitative–quantitative) and utilized tools such as structuralist semiotic analysis, Gestalt psychology, Freud’s theory of the uncanny space, and Henri Lefebvre’s theory of the production of space. Questionnaire data were analyzed using descriptive and qualitative statistical tests, while the interviews were examined through thematic content analysis. The findings indicate that the use of low-contrast lighting, tight framing, narrow and repetitive architectural spaces, cold color palettes, and industrial set design significantly increased viewers' feelings of anxiety, suspense, and cognitive engagement (p < 0.01). These findings confirm that architecture and mise-en-scène in Fincher’s works do not merely function as a background, but actively contribute to narrative development and the viewer's psychological experience. Moreover, field data reveal that audiences associated these cinematic spaces—even outside the filmic context—with feelings of insecurity, threat, and criminality. This feedback suggests that cinematic representations of enigmatic spaces can have implications for urban planning and architecture, serving as a cautionary tool to avoid reproducing unsafe environments in contemporary cities. These results are applicable in set design, film criticism, environmental psychology, and the design of safe urban and architectural environments.

Urban planners and architects often face significant constraints in post-war reconstruction efforts in historical cities. They are confronted with two main priorities: preserving urban morphology or prioritizing the rapid provision of housing. Some design based on urban morphology and architectural language, while others disregard these aspects. However, the success of a reconstruction plan is ultimately judged by the people who continue to live in that city afterward. The study of post-war reconstruction in the city of Dezful serves as evidence of the failure of such efforts from physical, social, and cultural perspectives. Analyzing the historical fabric of the city after a crisis, using pre-war data and based on architectural language and urban morphology, can contribute significantly to a structured post-war rebuilding process. Identifying the urban morphology and the continuity of the urban fabric, along with layering the phases of city formation over various historical periods, establishes a foundational framework that can guide a methodology for post-war reconstruction both within the historical fabric and beyond its existing boundaries. In this study, Dezful’s urban morphology before and after the war was examined to propose a logical model for the reconstruction of historical cities following conflict. Our findings indicate that the physical, social, and cultural structure of Dezful has changed since the reconstruction efforts that began in 1981. The proposed protocol outlines a strategy for post-war reconstruction in Dezful. According to this protocol, 65% of post-war constructions occurred outside the established morphological structure of the city; 25% were somewhat aligned with the city’s morphology, and only 10% of the post-war constructions conformed to the original urban morphology.

The interest in beauty and showing off oneself is common among people around the world, not only today but also for many years. It is enough to take a look at the religious and traditional ceremonies of early humans in caves; we will see how they displayed a special kind of self-expression by painting their bodies. With the passage of time and the changing customs, traditions, and cultures in different societies, makeup and grooming also appeared in different forms. In Iranian culture, which is also ruled by a religion called Shia, adherence to religious principles was of particular importance. There is a significant difference in the way women appear in Iranian culture in previous periods to the present. Makeup has become very different from what we see in previous periods and is not comparable (it has even entered the art of theater, cinema, and television). The meaning of appearing cleaner and being seen more beautiful has merged and taken on a new color and flavor. One of the factors that is considered important in this research is the study of makeup and make-up from the last decades of the Qajar dynasty to the present day. How women in Iranian culture wore makeup, as well as the differences and similarities between makeup in the past and today, will be examined and analyzed by considering the factors related to it.

In modern societies, everyday life has become a space for symbolic representation and social identity formation. One manifestation of this representation is the selection of artworks for decorating interior home spaces. This study, grounded in the sociology of art—particularly Pierre Bourdieu’s theory of cultural capital—examines how social and cultural factors influence the selection of artworks in homes across Tehran. The research aims to analyze the social dimensions of artistic taste in private spaces and to understand the class-based, aesthetic, and cultural dynamics reflected in these choices. This qualitative study employs thematic analysis and participant observation across several socioeconomically diverse neighborhoods in Tehran. Data were collected through semi-structured interviews with 20 households and photographic documentation of artworks displayed in living and reception areas. Findings indicate that individuals’ artistic choices are significantly associated with their level of cultural capital, educational attainment, social class, and cultural disposition. Upper-class households tend to prefer conceptual, modern, and abstract styles, while lower-class households exhibit a stronger preference for simple, accessible, and realistic artworks. However, in some cases, aesthetic boundaries appear fluid and intertwined, revealing what might be termed a form of "aesthetic diaspora. Artworks in homes serve as markers of cultural capital and acts of social representation. To democratize artistic taste and enhance public cultural capital, educational interventions and equitable cultural access are essential.

This article investigates the identity characteristics of urban spaces and the lived experiences of citizens and vendors through a phenomenological approach in the Khorramabad Daily Bazaar. The research is applied in nature and employs a descriptive-analytical methodology. Data were collected using both fieldwork and library research methods. Analytical tools include SPSS and Excel software, which were utilized for the quantitative data analysis. In this study, various statistical models such as the t-test and the Marcus Model were employed to evaluate and rank the identity characteristics of the Daily Bazaar. The results indicate that the t-test outcomes reflect a positive condition of sense of belonging to the urban space in the Khorramabad Daily Bazaar, with a mean score of 3.1, a t-statistic of 1.021, and a significance level of 0.005. Furthermore, social interactions, with a mean of 3.25, a t-statistic of 2.341, and a significance level of 0.002, indicate positive social engagement. Access to social services also demonstrates adequacy, with a mean of 3.5, a t-statistic of 4.274, and a significance level of 0.001. Perceived social safety in public spaces, with a mean score of 3.6 and a t-statistic of 3.562, indicates a high level of public trust in the safety of these spaces. In contrast, cultural diversity, with a mean of 2.8, a t-statistic of -2.441, and a significance level of 0.001, reveals a deficiency in this dimension. Moreover, the results of the Marcus Model indicate that the Daily Bazaar holds a positive desirability degree across various identity dimensions, including lived experience and place attachment. These findings can assist urban planners in focusing on strengthening cultural identity and collective memory to enhance citizens' sense of belonging and satisfaction.

The aim of this study is to evaluate the fit of environmentally sustainable (green) architecture components in the prosperity of ecotourism lodges in Mazandaran Province. This research adopted a mixed-method approach in two phases: qualitative and quantitative. In the qualitative phase, semi-structured interviews were conducted with 15 experts in architecture, ecotourism, and lodge management to identify the core components of sustainable architecture. These components were then coded and used in the quantitative phase, where 213 questionnaires were distributed among tourists staying in ecotourism lodges in Mazandaran Province. Data were analyzed using Confirmatory Factor Analysis (CFA) through AMOS software. The results revealed a well-fitting factor structure composed of seven main components: environmental qualitative and quantitative development, vernacular architecture, eco-friendliness, environmental sustainability, economic factors, socio-cultural factors, and cost-benefit analysis. Fit indices including CFI, NFI, RMSEA, and AGFI were within acceptable thresholds, confirming strong alignment between questionnaire items and theoretical constructs. All factor loadings exceeded 0.6, indicating strong convergent validity. The findings suggest that implementing principles of sustainable architecture in ecotourism lodge design and management can enhance environmental, economic, and cultural indicators in rural areas. Such design contributes not only to responsible tourism experiences but also to balanced regional development.

The concept of ḥarīm (spatial and semantic boundary) as a structural element is one of the most fundamental components in traditional Iranian architecture, extending beyond physical borders to deeply influence the aesthetic, spiritual, and social experiences of inhabitants and observers. On the other hand, ambiguity and concealment (or intentional invisibility) in Islamic art—particularly in miniature painting, calligraphy, architecture, and decorative ornamentation—serve as foundational mechanisms to invite active audience participation in the discovery and interpretation of artworks. This study conducts a comparative analysis between the function of ḥarīm in traditional Iranian architecture and the mechanisms of "ambiguity" and "concealment" in Islamic art. Employing a dialectical aesthetic framework (Adorno, 1970/1997) and spatial semiotics (Eco, 1976; Barthes, 1967), a qualitative case study analysis was conducted on four examples: the Borujerdi House, Sheikh Lotfollah Mosque, the Shrine of Shah Nematollah Vali, and Fin Garden. Findings reveal that in both aesthetic systems, ambiguity and ḥarīm function as mechanisms guiding the spiritual and perceptual experience of the audience. In architecture, ḥarīm creates a gradual, dialectical experience through spatial hierarchies and delayed visual revelation. In Islamic art, ambiguity—achieved through the elimination of a fixed semantic center and the interplay of visual signs—invites the audience to engage in interpretive processes. Comparative analysis demonstrates that these mechanisms reflect an Islamic worldview regarding humanity’s relationship with meaning and the sacred—a world where meaning is sought not in certainty but in the movement between presence and absence. Based on these findings, reinterpreting these principles could inspire contemporary spatial and artistic designs with greater spiritual and aesthetic depth. The results indicate that these mechanisms are not merely functional necessities but reflections of an Islamic-Iranian worldview concerning humanity’s relationship with the absent, the enigmatic, and meaning—a world that finds presence within absence and creates meaning through invisibility.