Nazar Research Center for Art, Architecture and Urbanism (NRC) The Monthly Scientific Journal of Bagh-e Nazar 1735-9635 22 148 2025 09 23 A Meta-analysis and Systematic Review on the Impact of Housing Quality and Household Characteristics on Residential Space Choices and Preferences in Iranian Cities A Meta-analysis and Systematic Review on the Impact of Housing Quality and Household Characteristics on Residential Space Choices and Preferences in Iranian Cities 5 28 224509 10.22034/bagh.2025.449834.5583 FA Mahsa Mokhtari Department of Architecture, Ar.C., Islamic Azad University, Arak, Iran 0000-0003-1436-4609 Seyed Mohammadreza Miralayi Department of Architecture, Ar.C., Islamic Azad University, Arak, Iran 0000-0003-2462-251X Reza Nasr Isfahani Department of Economics and Entrepreneurship, Faculty of Advanced Studies in Art and Entrepreneurship, Isfahan University of Art, Iran 0000-0002-8195-1339 Journal Article 2024 04 15 Problem statement: The decision made by designers and architects to prioritize housing attributes desired by users is one of the pressing issues in housing design. For this purpose, both the role of housing quality and its associated attributes affecting housing choices and preferences have been examined in various studies. However, these studies have not been able to meet the challenges of designers and architects adequately due to the diversity of methods, lack of attention to architectural design attributes, different definitions of factors affecting housing quality, as well as inconsistencies in results. Research objective: This study aims to identify, compare, and examine the results of research related to the impact of effective attributes on the quality of residential architecture through the lens of users in choosing or preferring housing. This research identifies gaps and presents inconsistencies in previous studies and ultimately provides the results that can be used in housing design in the investigated cities and contribute to future research. Research method: This study adopted a meta-analysis and systematic qualitative and quantitative review method. For this purpose, all research related to the roles of “housing quality” and “household characteristics” in “housing choice” or “housing preferences” was reviewed. The studies were published in scientific research articles in Iran from 2009 to 2023 and were limited to attributes related to the interior space of residential units and buildings. Conclusion: The results indicate a gap in the investigated issue in large cities. Moreover, inconclusive reports on the impact of various housing attributes and household characteristics on housing selection or preference were revealed by the city. The attributes of unit size and area, number of bedrooms in the residential unit area, safety and security considerations, and facade were the most frequently mentioned, while attributes such as functional relationships of spaces, architectural flexibility, building orientation, smart home, participation in design, etc. received the least attention in the studies, and the average number of attributes in housing selection studies was reported to be less than in housing preference studies. Problem statement: The decision made by designers and architects to prioritize housing attributes desired by users is one of the pressing issues in housing design. For this purpose, both the role of housing quality and its associated attributes affecting housing choices and preferences have been examined in various studies. However, these studies have not been able to meet the challenges of designers and architects adequately due to the diversity of methods, lack of attention to architectural design attributes, different definitions of factors affecting housing quality, as well as inconsistencies in results. Research objective: This study aims to identify, compare, and examine the results of research related to the impact of effective attributes on the quality of residential architecture through the lens of users in choosing or preferring housing. This research identifies gaps and presents inconsistencies in previous studies and ultimately provides the results that can be used in housing design in the investigated cities and contribute to future research. Research method: This study adopted a meta-analysis and systematic qualitative and quantitative review method. For this purpose, all research related to the roles of “housing quality” and “household characteristics” in “housing choice” or “housing preferences” was reviewed. The studies were published in scientific research articles in Iran from 2009 to 2023 and were limited to attributes related to the interior space of residential units and buildings. Conclusion: The results indicate a gap in the investigated issue in large cities. Moreover, inconclusive reports on the impact of various housing attributes and household characteristics on housing selection or preference were revealed by the city. The attributes of unit size and area, number of bedrooms in the residential unit area, safety and security considerations, and facade were the most frequently mentioned, while attributes such as functional relationships of spaces, architectural flexibility, building orientation, smart home, participation in design, etc. received the least attention in the studies, and the average number of attributes in housing selection studies was reported to be less than in housing preference studies.

https://www.bagh-sj.com/article_224509_fb4dee6004160e59191188bc6cd6309b.pdf

Nazar Research Center for Art, Architecture and Urbanism (NRC) The Monthly Scientific Journal of Bagh-e Nazar 1735-9635 22 148 2025 09 23 Analysis and Critique of Unity in Divinity in the Traditionalist Attitude to Islamic Art Analysis and Critique of Unity in Divinity in the Traditionalist Attitude to Islamic Art 29 36 224241 10.22034/bagh.2025.515786.5791 FA Hossein Ghanbariahmadabad Music Department, Faculty of Fine Arts, University of Tehran, Iran 0009-0003-2699-2124 Journal Article 2025 04 09 Problem statement: The traditionalist movement in the critique of modernity makes interpretations in the field of pre-Renaissance and Eastern arts. Traditionalists in each civilization interpret artworks according to the assumptions and that civilization› concept; they also consider Islamic artworks to have a standard feature, manifesting unity in divinity and divinity in unity. Research objective: In the first step, this research demonstrates how Islamic art embodies the concept of unity in divinity from a traditionalist perspective. In the next step, it outlines the consequences that interpreting works according to the concept of unity in divinity will have. Research method: The research is descriptive-analytical, drawing on traditional writings to interpret the concept of unity in divinity through elements such as Islamic motifs, domes, mirror work, and geometry, utilizing numerical patterns. This article extracts the basic assumptions of four traditionalists regarding Islamic art and examines and critiques their consequences. Conclusion: The manifestation of unity in divinity›s view in Islamic art requires four assumptions, which are: a) the inherent connection between Islamic Sufism and Islamic art, b) the artists and audiences› familiarity with Sufism, c) the transhistoricity of the concepts d) the acceptance of the originality of the author›s intention. All four assumptions are subject to criticism, and there is no historical evidence for them. For example, the concept of unity in divinity became prevalent from the 14th century onwards; therefore, the conscious manifestation of this concept in works by artists and audiences prior to this period is not very reliable. Unless we consider unity in divinity to be transhistorical, the claim of transhistoricality presents a contradiction because if a concept is transhistorical, its manifestation is beyond the Islamic arts› monopoly. Every culture and period can manifest the concept. The fundamental characteristic and unity sense in Islamic art create cognitive conflict and eliminate the separation factor between Islamic art and non-Islamic art. Problem statement: The traditionalist movement in the critique of modernity makes interpretations in the field of pre-Renaissance and Eastern arts. Traditionalists in each civilization interpret artworks according to the assumptions and that civilization› concept; they also consider Islamic artworks to have a standard feature, manifesting unity in divinity and divinity in unity. Research objective: In the first step, this research demonstrates how Islamic art embodies the concept of unity in divinity from a traditionalist perspective. In the next step, it outlines the consequences that interpreting works according to the concept of unity in divinity will have. Research method: The research is descriptive-analytical, drawing on traditional writings to interpret the concept of unity in divinity through elements such as Islamic motifs, domes, mirror work, and geometry, utilizing numerical patterns. This article extracts the basic assumptions of four traditionalists regarding Islamic art and examines and critiques their consequences. Conclusion: The manifestation of unity in divinity›s view in Islamic art requires four assumptions, which are: a) the inherent connection between Islamic Sufism and Islamic art, b) the artists and audiences› familiarity with Sufism, c) the transhistoricity of the concepts d) the acceptance of the originality of the author›s intention. All four assumptions are subject to criticism, and there is no historical evidence for them. For example, the concept of unity in divinity became prevalent from the 14th century onwards; therefore, the conscious manifestation of this concept in works by artists and audiences prior to this period is not very reliable. Unless we consider unity in divinity to be transhistorical, the claim of transhistoricality presents a contradiction because if a concept is transhistorical, its manifestation is beyond the Islamic arts› monopoly. Every culture and period can manifest the concept. The fundamental characteristic and unity sense in Islamic art create cognitive conflict and eliminate the separation factor between Islamic art and non-Islamic art.

https://www.bagh-sj.com/article_224241_879bd5b6824e6af88693cd1c5229ddc0.pdf

Nazar Research Center for Art, Architecture and Urbanism (NRC) The Monthly Scientific Journal of Bagh-e Nazar 1735-9635 22 148 2025 09 23 From Greenwashing to Sustainable Architecture From Greenwashing to Sustainable Architecture 37 48 225928 10.22034/bagh.2025.510622.5785 FA Fatemeh Rezaie Kish International Campus, University of Tehran, Kish, Iran 0009-0000-4956-3603 Saeid Khaghani School of Architecture, College of Fine Arts, University of Tehran, Iran 0000-0001-7386-8861 S. Yahya Islami School of Architecture, College of Fine Arts, University of Tehran, Iran 0000-0001-5722-5487 Journal Article 2025 03 15 Problem statement: Over the past four decades, the philosophy of sustainability has shaped architectural discourse—initially through an environmental lens and later through economic and socio-cultural perspectives. While the knowledge base and technological capacities for sustainable architecture have grown significantly, built outcomes often fail to meet the normative goals set by theory. This persistent gap between conceptual ambition and real-world implementation has limited architecture’s contribution to sustainable development. Superficial or reductive interpretations of sustainability have enabled the rise of greenwashing, where symbolic design gestures are misrepresented as genuine environmental or social commitment. A critical reassessment of greenwashing is necessary to reframe sustainable architecture as a more pragmatic, contextually grounded, and operationally meaningful paradigm. Research objective: This study aims to critically analyze the aspects of greenwashing in architecture to identify key parameters contributing to the development of an efficient and comprehensive approach to sustainable architecture. These parameters may provide the foundation for redefining sustainable architecture as a holistic, integrative, and practice-driven approach. Research methodology: This study adopted a critical-analytical methodology to examine greenwashing within architectural discourse. Using discourse analysis and logical-critical reasoning, it identified key parameters for advancing a more pragmatic and context-responsive model of sustainable architecture. Data collection involved documentary and library-based sources, including academic literature and theoretical texts in the fields of sustainability and critical architecture. Conclusion: The results indicate that redefining technology within a socio-cultural system, adopting process-oriented thinking, embracing contextualism and regionalism, fostering citizen participation and green behavior, and integrating cultural awareness, realism, and holistic approaches are among the most significant components of an effective sustainable architecture and proper responses to greenwashing. Indeed, these parameters lay the foundation for reimagining sustainable architecture as a pragmatic and contextually grounded design paradigm, rather than a merely symbolic or fetishistic construct. Problem statement: Over the past four decades, the philosophy of sustainability has shaped architectural discourse—initially through an environmental lens and later through economic and socio-cultural perspectives. While the knowledge base and technological capacities for sustainable architecture have grown significantly, built outcomes often fail to meet the normative goals set by theory. This persistent gap between conceptual ambition and real-world implementation has limited architecture’s contribution to sustainable development. Superficial or reductive interpretations of sustainability have enabled the rise of greenwashing, where symbolic design gestures are misrepresented as genuine environmental or social commitment. A critical reassessment of greenwashing is necessary to reframe sustainable architecture as a more pragmatic, contextually grounded, and operationally meaningful paradigm. Research objective: This study aims to critically analyze the aspects of greenwashing in architecture to identify key parameters contributing to the development of an efficient and comprehensive approach to sustainable architecture. These parameters may provide the foundation for redefining sustainable architecture as a holistic, integrative, and practice-driven approach. Research methodology: This study adopted a critical-analytical methodology to examine greenwashing within architectural discourse. Using discourse analysis and logical-critical reasoning, it identified key parameters for advancing a more pragmatic and context-responsive model of sustainable architecture. Data collection involved documentary and library-based sources, including academic literature and theoretical texts in the fields of sustainability and critical architecture. Conclusion: The results indicate that redefining technology within a socio-cultural system, adopting process-oriented thinking, embracing contextualism and regionalism, fostering citizen participation and green behavior, and integrating cultural awareness, realism, and holistic approaches are among the most significant components of an effective sustainable architecture and proper responses to greenwashing. Indeed, these parameters lay the foundation for reimagining sustainable architecture as a pragmatic and contextually grounded design paradigm, rather than a merely symbolic or fetishistic construct.

https://www.bagh-sj.com/article_225928_9f637ed29ad2c1ffa2cc5886002c5f4a.pdf

Nazar Research Center for Art, Architecture and Urbanism (NRC) The Monthly Scientific Journal of Bagh-e Nazar 1735-9635 22 148 2025 09 23 An Investigation of the Factors of Enhancing Imagination and Active Audience Engagement in Motion Graphics An Investigation of the Factors of Enhancing Imagination and Active Audience Engagement in Motion Graphics 49 64 226521 10.22034/bagh.2025.493336.5720 FA Mahdi Attarian Art Research Group, Department of Art, Shahed University, Tehran, Iran 0000-0003-1531-8380 Seyed Reza Hosseini Faculty Member of Painting Group, Faculty of Art, Shahed University, Tehran, Iran 0000-0001-5520-2484 Journal Article 2024 12 15 Problem statement: Nowadays, the media have been one of the most significant tools for conveying ideas and information. With the far-fetched technological developments, the emergence of new artistic media with interactive potential offers a new and dynamic visual language for communication and expression. Motion graphics, a multimedia art image, plays a pivotal role in rendering different aesthetic experiences for the audience by blending texts, sounds, and movements. However, a deeper investigation is required to know how motion graphics artwork should be designed to stimulate the audience’s imagination actively and prevent them from being passive. This research gap highlights the importance of identifying components that can enrich the audience’s aesthetic experience and encourage them to actively interact with the artwork. This study seeks to address the following question: What factors effectively contribute to reinforcing the audience’s imagination and active exposure in animated graphics? Research objective: This study attempts to identify the characteristics of motion graphics based on enhancing the imagination and providing a suitable model for the creators of these works in order to actively expose the audience. Research method: This research is fundamental and applied in terms of purpose. It employed a qualitative phenomenological approach. Data was collected through literature review and field studies, then analyzed using coding. The research samples were people who had experience with motion graphics works, as well as experts in the field of visual arts. Conclusion: Research findings show that the main components of evoking the audience’s imagination in motion graphics works included connection with reality, eliciting shock and surprise in the audience, attributing human characteristics, breathing life into basic elements of the visual arts and attributing human characteristics, raising questions in the audience’s minds, using visual techniques such as combination, transformation, and elimination, the principle of integrity and coherence in all elements, a minimalist approach, the impact of music and sound effects. These components can help producers of motion graphics to stimulate the audience’s imagination and enrich their aesthetic experience, thereby encouraging them to actively interact with the artwork. Problem statement: Nowadays, the media have been one of the most significant tools for conveying ideas and information. With the far-fetched technological developments, the emergence of new artistic media with interactive potential offers a new and dynamic visual language for communication and expression. Motion graphics, a multimedia art image, plays a pivotal role in rendering different aesthetic experiences for the audience by blending texts, sounds, and movements. However, a deeper investigation is required to know how motion graphics artwork should be designed to stimulate the audience’s imagination actively and prevent them from being passive. This research gap highlights the importance of identifying components that can enrich the audience’s aesthetic experience and encourage them to actively interact with the artwork. This study seeks to address the following question: What factors effectively contribute to reinforcing the audience’s imagination and active exposure in animated graphics? Research objective: This study attempts to identify the characteristics of motion graphics based on enhancing the imagination and providing a suitable model for the creators of these works in order to actively expose the audience. Research method: This research is fundamental and applied in terms of purpose. It employed a qualitative phenomenological approach. Data was collected through literature review and field studies, then analyzed using coding. The research samples were people who had experience with motion graphics works, as well as experts in the field of visual arts. Conclusion: Research findings show that the main components of evoking the audience’s imagination in motion graphics works included connection with reality, eliciting shock and surprise in the audience, attributing human characteristics, breathing life into basic elements of the visual arts and attributing human characteristics, raising questions in the audience’s minds, using visual techniques such as combination, transformation, and elimination, the principle of integrity and coherence in all elements, a minimalist approach, the impact of music and sound effects. These components can help producers of motion graphics to stimulate the audience’s imagination and enrich their aesthetic experience, thereby encouraging them to actively interact with the artwork.

https://www.bagh-sj.com/article_226521_d87bc8a66197bd6850bb7d68d74356e8.pdf

Nazar Research Center for Art, Architecture and Urbanism (NRC) The Monthly Scientific Journal of Bagh-e Nazar 1735-9635 22 148 2025 08 31 An Analysis of Anish Kapoor’s Works with a Focus on the Concept of Becoming from the Perspective of Gilles Deleuze An Analysis of Anish Kapoor’s Works with a Focus on the Concept of Becoming from the Perspective of Gilles Deleuze 65 78 228160 10.22034/bagh.2025.520350.5817 FA Elahe Feizi Moghaddam Department of Visual Communication, Faculty of Fine Arts & Architecture, Eqbal Lahoori Institute of Higher Education, Mashhad, Iran 0000-0002-0287-8656 Seyedalireza Sajjadi Department of Urbanism, Faculty of Architecture and Urbanism, Ferdowsi University of Mashhad, Mashhad, Iran 0009-0004-5111-2368 Hossein Ardalani Department of Philosophy of Art, Hamedan Branch, Islamic Azad University, Hamedan, Iran 0000-0002-4390-3862 Journal Article 2025 05 09 Problem statement: In the postmodern era, art is no longer conceived as a static act of representation but as a fluid and generative process. Within this framework, philosophical concepts such as becoming in the thought of Gilles Deleuze provide deeper analytical tools for engaging with contemporary artworks. Given the formal and conceptual complexities of Anish Kapoor’s oeuvre—particularly his red wax installations and mirrored sculptures—there arises a need for a philosophical and interdisciplinary interpretive approach to adequately apprehend their aesthetic and conceptual dimensions. Research objective: This study seeks to analyze Kapoor’s works through the lens of Deleuzian becoming—a concept that encompasses flux, transformation, instability, and perpetual creation. The research aims to demonstrate how Kapoor’s art serves as a visual instantiation of becoming, producing experiential events that transcend conventional notions of representation and align with the creation of singular artistic occurrences in the moment. Research method: This qualitative and theoretical investigation adopted an analytical-interpretive method within an interdisciplinary framework of art and philosophy. Drawing on literature review and Deleuze’s theoretical corpus, the study examines Kapoor’s red wax works and mirrored sculptures as case studies, selected for their close engagement with the logic of becoming. Conclusion: The findings indicate that Kapoor’s artworks—especially Svayambh, Past, Present, Future, and Cloud Gate—operate not as static objects but as dynamic processes of continual transformation. These works dissolve the boundaries between matter, time, space, and the viewer, generating experiences of becoming that embody Deleuze’s conception of art as event, creation of meaning, and lived experience. Ultimately, the study argues that Kapoor’s work cannot be comprehensively understood without reference to Deleuze’s ontology of becoming, which offers a deeper insight into the dynamic ontology of contemporary art. Problem statement: In the postmodern era, art is no longer conceived as a static act of representation but as a fluid and generative process. Within this framework, philosophical concepts such as becoming in the thought of Gilles Deleuze provide deeper analytical tools for engaging with contemporary artworks. Given the formal and conceptual complexities of Anish Kapoor’s oeuvre—particularly his red wax installations and mirrored sculptures—there arises a need for a philosophical and interdisciplinary interpretive approach to adequately apprehend their aesthetic and conceptual dimensions. Research objective: This study seeks to analyze Kapoor’s works through the lens of Deleuzian becoming—a concept that encompasses flux, transformation, instability, and perpetual creation. The research aims to demonstrate how Kapoor’s art serves as a visual instantiation of becoming, producing experiential events that transcend conventional notions of representation and align with the creation of singular artistic occurrences in the moment. Research method: This qualitative and theoretical investigation adopted an analytical-interpretive method within an interdisciplinary framework of art and philosophy. Drawing on literature review and Deleuze’s theoretical corpus, the study examines Kapoor’s red wax works and mirrored sculptures as case studies, selected for their close engagement with the logic of becoming. Conclusion: The findings indicate that Kapoor’s artworks—especially Svayambh, Past, Present, Future, and Cloud Gate—operate not as static objects but as dynamic processes of continual transformation. These works dissolve the boundaries between matter, time, space, and the viewer, generating experiences of becoming that embody Deleuze’s conception of art as event, creation of meaning, and lived experience. Ultimately, the study argues that Kapoor’s work cannot be comprehensively understood without reference to Deleuze’s ontology of becoming, which offers a deeper insight into the dynamic ontology of contemporary art.

https://www.bagh-sj.com/article_228160_16029703562551494312b6209d6812cb.pdf

Nazar Research Center for Art, Architecture and Urbanism (NRC) The Monthly Scientific Journal of Bagh-e Nazar 1735-9635 22 148 2025 09 23 A Critique of Traditionalist Views on Islamic Calligraphy A Critique of Traditionalist Views on Islamic Calligraphy 79 84 226962 10.22034/bagh.2025.526550.5828 FA Hojatollah Amani Department of Painting, Faculty of Art & Architecture, Tarbiat Modarres University, Tehran, Iran 0000-0002-1096-9566 Journal Article 2025 05 27 Problem statement: The opinions and conclusions of traditionalists regarding Islamic art and architecture are often cited without adequate references to historical examples and documentation. Calligraphy, considered by traditionalists as the most noble and distinguished form of Islamic art, has similarly been accepted and applied by researchers without historical verification. Research objective: This critique examines how traditionalist views, especially those of Seyyed Hossein Nasr, align with the historical development and surviving examples of Islamic calligraphy and illumination (Tezhib). It argues that in many cases, these views conflict with the documented history of the art. Conclusion: It seems that some of these perspectives, conveyed in generalized and symbolic (abstract) language, aim more at legitimizing the spiritual and civilizational role of calligraphy as the turning point from oral tradition to written revolution in Islamic civilization, rather than reflecting historical accuracy. Problem statement: The opinions and conclusions of traditionalists regarding Islamic art and architecture are often cited without adequate references to historical examples and documentation. Calligraphy, considered by traditionalists as the most noble and distinguished form of Islamic art, has similarly been accepted and applied by researchers without historical verification. Research objective: This critique examines how traditionalist views, especially those of Seyyed Hossein Nasr, align with the historical development and surviving examples of Islamic calligraphy and illumination (Tezhib). It argues that in many cases, these views conflict with the documented history of the art. Conclusion: It seems that some of these perspectives, conveyed in generalized and symbolic (abstract) language, aim more at legitimizing the spiritual and civilizational role of calligraphy as the turning point from oral tradition to written revolution in Islamic civilization, rather than reflecting historical accuracy.

https://www.bagh-sj.com/article_226962_feb308f89e99ff3da99965e023ba70b0.pdf