Nazar Research Center for Art, Architecture and Urbanism (NRC) The Monthly Scientific Journal of Bagh-e Nazar 1735-9635 23 157 2026 06 22 An Adaptation-Based Study of the Influence of Ahmad Khani’s Epic “Mem û Zîn” on Kurdish Drama in Comparative Literature An Adaptation-Based Study of the Influence of Ahmad Khani’s Epic “Mem û Zîn” on Kurdish Drama in Comparative Literature 5 18 245433 10.22034/bagh.2026.549304.5896 FA Majid Sarsangi Department of Performing Arts, College of Fine Arts, University of Tehran, Iran 0000-0001-8746-661X Salaheddin Mohammadi Baneh Department of Performing Arts, College of Fine Arts, University of Tehran, Iran Journal Article 2025 10 01 Problem statement: A large number of dramas that have been created, published, or performed in the Kurdish language are rooted in stories, legends, and epics previously produced by Kurdish writers and poets. Among these, playwrights have paid more attention to some of the works. The epic “Mem û Zîn” is one of these works, based on which a noteworthy number of dramas and other literary and artistic genres have been created. This work is the first long epic written in the Kurdish language, which Ahmad Khani composed in the second half of the 17th century AD. Research objective: This article examined the various influences of this epic on Kurdish drama using Linda Hutcheon`s theories on adaptation and its types, and it aimed to answer the main question of how the epic “Mem û Zîn” has influenced Kurdish playwriting, and to identify the similarities and differences between the works that are derivative of it, as well as among themselves. Research method: The research method in this article was descriptive-analytical, based on adaptation and its types from Linda Hutcheon`s perspective; and existing library resources in this field, and the epic “Mem û Zîn” itself and two derivative dramas “Mem û Zîn” by Pirmard and “Mem û Zîn” by Rasul Bangin were used to answer the posed research question. Conclusion: The findings of this research indicate that the epic “Mem û Zîn” has been a popular source for the creation of Kurdish dramas. Kurdish playwrights, while incorporating significant similarities in their works based on this epic, have also included their unique viewpoints, transforming the epic into a performable play from various perspectives. Problem statement: A large number of dramas that have been created, published, or performed in the Kurdish language are rooted in stories, legends, and epics previously produced by Kurdish writers and poets. Among these, playwrights have paid more attention to some of the works. The epic “Mem û Zîn” is one of these works, based on which a noteworthy number of dramas and other literary and artistic genres have been created. This work is the first long epic written in the Kurdish language, which Ahmad Khani composed in the second half of the 17th century AD. Research objective: This article examined the various influences of this epic on Kurdish drama using Linda Hutcheon`s theories on adaptation and its types, and it aimed to answer the main question of how the epic “Mem û Zîn” has influenced Kurdish playwriting, and to identify the similarities and differences between the works that are derivative of it, as well as among themselves. Research method: The research method in this article was descriptive-analytical, based on adaptation and its types from Linda Hutcheon`s perspective; and existing library resources in this field, and the epic “Mem û Zîn” itself and two derivative dramas “Mem û Zîn” by Pirmard and “Mem û Zîn” by Rasul Bangin were used to answer the posed research question. Conclusion: The findings of this research indicate that the epic “Mem û Zîn” has been a popular source for the creation of Kurdish dramas. Kurdish playwrights, while incorporating significant similarities in their works based on this epic, have also included their unique viewpoints, transforming the epic into a performable play from various perspectives.

https://www.bagh-sj.com/article_245433_c024b90c073bbc810c9db807113369c4.pdf

Nazar Research Center for Art, Architecture and Urbanism (NRC) The Monthly Scientific Journal of Bagh-e Nazar 1735-9635 23 157 2026 06 22 Analysis of the Architectural Features of the Shisheh-Riz Tombs of Jalq in Baluchestan, Iran Analysis of the Architectural Features of the Shisheh-Riz Tombs of Jalq in Baluchestan, Iran 19 30 242293 10.22034/bagh.2026.550530.5903 FA Faramarz Hassan Pour Department of Architecture, Faculty of Art & Architecture, University of Zabol, Zabol, Iran 0000-0002-5776-5966 Kamran Shahnavazi Department of Architecture, Faculty of Art & Architecture, University of Zabol, Zabol, Iran 0009-0004-9277-4464 Journal Article 2025 10 08 Problem statement: Tomb architecture is one of the prominent domains of Iranian architecture. In the Islamic period, the Seljuk and Ilkhanid periods were turning points in Iranian tomb architecture development; a trend that continued in later periods. This research is dedicated to examining the architectural features of tomb buildings in the village of Shisheh-Riz in Golshan County, Sistan and Baluchestan Province. These buildings have not been studied systematically and with an architectural analysis approach. Therefore, analyzing the architecture of these tombs can pave the way for a better understanding of another part of Iranian architectural heritage. Research objective: The main objective of this research is to identify and analyze the structural and physical features of Shisheh-Riz tombs, along with examining their visual, conceptual, and formal similarities with other tomb buildings in Iran, especially those belonging to the same historical periods. Research method: This research was conducted using a descriptive-analytical method, with observations and field visits, and the study and review of archives such as travelogues and historical documents. The selected cases were the eight historical tombs in the village of Shisheh-Riz. The reason for selecting this number was based on access roads, the possibility of its documents, and field research. Therefore, the sampling method was purposeful, and finally, the data were analyzed qualitatively. Conclusion: Unique architectural features of the Shisheh-Riz tombs include banded hole decorations in walls, the use of patkin arches in the interior space, and particularly the method of making domed corners with pendentive, which is distinct from the tradition of making domed corners with squinch in previous periods of Iranian architecture and largely determines the age of the building, since pendentive was common in tomb buildings during the Ilkhanid period in Iran. Also, some decorative motifs inside the buildings were partially identified by examining historical texts. Problem statement: Tomb architecture is one of the prominent domains of Iranian architecture. In the Islamic period, the Seljuk and Ilkhanid periods were turning points in Iranian tomb architecture development; a trend that continued in later periods. This research is dedicated to examining the architectural features of tomb buildings in the village of Shisheh-Riz in Golshan County, Sistan and Baluchestan Province. These buildings have not been studied systematically and with an architectural analysis approach. Therefore, analyzing the architecture of these tombs can pave the way for a better understanding of another part of Iranian architectural heritage. Research objective: The main objective of this research is to identify and analyze the structural and physical features of Shisheh-Riz tombs, along with examining their visual, conceptual, and formal similarities with other tomb buildings in Iran, especially those belonging to the same historical periods. Research method: This research was conducted using a descriptive-analytical method, with observations and field visits, and the study and review of archives such as travelogues and historical documents. The selected cases were the eight historical tombs in the village of Shisheh-Riz. The reason for selecting this number was based on access roads, the possibility of its documents, and field research. Therefore, the sampling method was purposeful, and finally, the data were analyzed qualitatively. Conclusion: Unique architectural features of the Shisheh-Riz tombs include banded hole decorations in walls, the use of patkin arches in the interior space, and particularly the method of making domed corners with pendentive, which is distinct from the tradition of making domed corners with squinch in previous periods of Iranian architecture and largely determines the age of the building, since pendentive was common in tomb buildings during the Ilkhanid period in Iran. Also, some decorative motifs inside the buildings were partially identified by examining historical texts.

https://www.bagh-sj.com/article_242293_6ec6f031e1d3ddfe1b3f577716859a3d.pdf

Nazar Research Center for Art, Architecture and Urbanism (NRC) The Monthly Scientific Journal of Bagh-e Nazar 1735-9635 23 157 2026 06 22 Recognition of Theoretical Domains Related to Urban Rhythms Using Systematic Metasynthesis Recognition of Theoretical Domains Related to Urban Rhythms Using Systematic Metasynthesis 31 46 242870 10.22034/bagh.2026.552487.5912 FA Azimeh Mosayebi Department of Urban Planning, Faculty of Architecture & Urban Planning, Art University of Isfahan, Isfahan, Iran 0009-0000-8598-6443 Mahmoud Ghalehnoee Department of Urban Planning, Faculty of Architecture & Urban Planning, Art University of Isfahan, Isfahan, Iran 0000-0003-4213-2979 Journal Article 2025 10 11 Problem statement: At first glance, the concept of urban rhythms is often understood merely as repetitive temporal patterns or a technical lens for analyzing everyday urban life. However, beyond this superficial interpretation lies a deeper theoretical landscape that has not yet been systematically explored. Therefore, there is a need to identify and classify the diverse theoretical domains that shape the understanding of spatial-temporal dynamics in contemporary cities. This study seeks to answer the fundamental question: “What are the main theoretical domains associated with urban rhythms, and how can these domains be systematically identified, classified, and conceptually represented?” Research objective: The main aim is to develop an integrated theoretical framework that maps, organizes, and interprets the core conceptual interactions underpinning urban rhythm studies, with particular emphasis on Henri Lefebvre’s theory of rhythmanalysis. Research method: Adopting a mixed-method approach, the research was conducted in two main stages. First, a bibliometric analysis was performed on 1,539 scholarly documents indexed in Scopus (1994–2024) to identify dominant research streams and recurrent conceptual clusters. In the second stage, a systematic qualitative meta-synthesis was applied to 521 selected articles, using thematic coding and clustering in ATLAS.ti. This process led to the construction of a conceptual network illustrating theoretical interrelations within the field of urban rhythms. Conclusion: The analysis revealed five major conceptual clusters: Temporal and Rhythmic Structures, Spatial and Urban Theory, Everyday Practices and Embodiment, Socio-Political Dimensions of Space, and Production and Political Economy. Collectively, these clusters indicate that urban rhythms are multi-dimensional and multi-temporal phenomena arising from the intersection of spatial, temporal, social, embodied, and political processes. The study provides a comprehensive theoretical and analytical framework that deepens the understanding of rhythmic complexity in urban life and offers a foundation for advancing future research in spatial-social rhythmanalysis and contemporary urban theory. Problem statement: At first glance, the concept of urban rhythms is often understood merely as repetitive temporal patterns or a technical lens for analyzing everyday urban life. However, beyond this superficial interpretation lies a deeper theoretical landscape that has not yet been systematically explored. Therefore, there is a need to identify and classify the diverse theoretical domains that shape the understanding of spatial-temporal dynamics in contemporary cities. This study seeks to answer the fundamental question: “What are the main theoretical domains associated with urban rhythms, and how can these domains be systematically identified, classified, and conceptually represented?” Research objective: The main aim is to develop an integrated theoretical framework that maps, organizes, and interprets the core conceptual interactions underpinning urban rhythm studies, with particular emphasis on Henri Lefebvre’s theory of rhythmanalysis. Research method: Adopting a mixed-method approach, the research was conducted in two main stages. First, a bibliometric analysis was performed on 1,539 scholarly documents indexed in Scopus (1994–2024) to identify dominant research streams and recurrent conceptual clusters. In the second stage, a systematic qualitative meta-synthesis was applied to 521 selected articles, using thematic coding and clustering in ATLAS.ti. This process led to the construction of a conceptual network illustrating theoretical interrelations within the field of urban rhythms. Conclusion: The analysis revealed five major conceptual clusters: Temporal and Rhythmic Structures, Spatial and Urban Theory, Everyday Practices and Embodiment, Socio-Political Dimensions of Space, and Production and Political Economy. Collectively, these clusters indicate that urban rhythms are multi-dimensional and multi-temporal phenomena arising from the intersection of spatial, temporal, social, embodied, and political processes. The study provides a comprehensive theoretical and analytical framework that deepens the understanding of rhythmic complexity in urban life and offers a foundation for advancing future research in spatial-social rhythmanalysis and contemporary urban theory.

https://www.bagh-sj.com/article_242870_b21946c2834c2772be091d934b11ed89.pdf

Nazar Research Center for Art, Architecture and Urbanism (NRC) The Monthly Scientific Journal of Bagh-e Nazar 1735-9635 23 157 2026 06 22 Identification of Productivity-Oriented Architectural Characteristics of Heavy Industrial Complexes in Iran within the Framework of Industry 5.0 Based on Expert Consensus Identification of Productivity-Oriented Architectural Characteristics of Heavy Industrial Complexes in Iran within the Framework of Industry 5.0 Based on Expert Consensus 47 58 243376 10.22034/bagh.2026.561097.5937 FA Farjad Bazghandi Department of Architecture, Faculty of Architecture and Urban Planning, Isfahan University of Art, Iran Majid Salehinia Department of Architecture, Faculty of Architecture and Urban Planning, Hakim Sabzevari University, Sabzevar, Iran Abbas Jahanbakhsh Department of Architecture, Faculty of Architecture and Urban Planning, Isfahan University of Art, Iran Hossein Samavatyan Department of Psychology, Faculty of Humanities, University of Isfahan, Iran Journal Article 2025 11 23 Problem statement: The global transition to the fifth industrial wave has revealed the necessity of rethinking the architecture of industrial spaces. In this regard, productive architecture can, through the adaptation of spatial design to production processes, the enhancement of work environment quality, and the intelligent utilization of modern technologies, provide the grounds for increasing productivity in heavy industries. However, many heavy industrial complexes in Iran still face challenges such as physical obsolescence, a lack of coordination between spatial structure and production system, and weakness in adaptation to technological transformations. Research objective: The present study was conducted to present a productive architectural design model in accordance with the requirements of the fifth industrial wave. Research method: This study was carried out with a qualitative approach and by employing the two stage Delphi technique. In the first stage, initial indicators were extracted through a systematic review of research literature, and the proposed theoretical framework was formulated. In the second stage, the views of 23 experts in the fields of industrial architecture and productivity were collected, and through two phases of evaluation, the indicators were finalized based on the 80 percent consensus criterion. Conclusion: Findings led to the identification of 19 key indicators in three main axes, including: 1) patterns of ownership and utilization of space, 2) technical, technological, and energy considerations, and 3) spatial planning and functional organization. Accordingly, the conceptual model of productive architecture for Iran’s heavy industries within the context of the fifth industrial wave was explained. The results of this research can provide a basis for designing and revitalizing industrial spaces in the country and can contribute to improving productivity, sustainability, and the quality of the work environment in heavy industries. Problem statement: The global transition to the fifth industrial wave has revealed the necessity of rethinking the architecture of industrial spaces. In this regard, productive architecture can, through the adaptation of spatial design to production processes, the enhancement of work environment quality, and the intelligent utilization of modern technologies, provide the grounds for increasing productivity in heavy industries. However, many heavy industrial complexes in Iran still face challenges such as physical obsolescence, a lack of coordination between spatial structure and production system, and weakness in adaptation to technological transformations. Research objective: The present study was conducted to present a productive architectural design model in accordance with the requirements of the fifth industrial wave. Research method: This study was carried out with a qualitative approach and by employing the two stage Delphi technique. In the first stage, initial indicators were extracted through a systematic review of research literature, and the proposed theoretical framework was formulated. In the second stage, the views of 23 experts in the fields of industrial architecture and productivity were collected, and through two phases of evaluation, the indicators were finalized based on the 80 percent consensus criterion. Conclusion: Findings led to the identification of 19 key indicators in three main axes, including: 1) patterns of ownership and utilization of space, 2) technical, technological, and energy considerations, and 3) spatial planning and functional organization. Accordingly, the conceptual model of productive architecture for Iran’s heavy industries within the context of the fifth industrial wave was explained. The results of this research can provide a basis for designing and revitalizing industrial spaces in the country and can contribute to improving productivity, sustainability, and the quality of the work environment in heavy industries.

https://www.bagh-sj.com/article_243376_7b92848c1dd75c8e39f2140d9c6c8a2c.pdf

Nazar Research Center for Art, Architecture and Urbanism (NRC) The Monthly Scientific Journal of Bagh-e Nazar 1735-9635 23 157 2026 06 22 Revisiting the Concept of Interaction in Urban Motion and Printed Posters Based on Richard Mayer’s Cognitive Theory of Multimedia Learning Revisiting the Concept of Interaction in Urban Motion and Printed Posters Based on Richard Mayer’s Cognitive Theory of Multimedia Learning 59 68 242294 10.22034/bagh.2026.562435.5940 FA Maryam Naderi Department of Research of Art, Faculty of Art, Alzahra University, Tehran, Iran 0009-0004-2712-8212 Zahra Rahbarnia Department of Research of Art, Faculty of Art, Alzahra University, Tehran, Iran Journal Article 2025 11 26 Problem statement: With the expansion of interactive graphics in contemporary urban spaces, particularly in Motion Posters and Printed Posters, the concept of “interaction” is linked to the active and multisensory participation of citizens. However, in the dynamic and multilayered urban environment, the interactive capacity and the agentive role of passersby in engaging with urban media have received less attention. Richard E. Mayer’s Multimedia Learning theory can provide an appropriate framework for analyzing citizens’ perceptual experience and enhancing the interactive function of urban posters. Therefore, revisiting the concept of interaction in posters and aligning it with Mayer’s principles is necessary for analyzing the audience’s processes of perception and learning. This study seeks to answer the following questions: How is interaction represented in urban Motion and Printed Posters, and what role do the principles of Multimedia Learning play in shaping the audience’s interactive experience in the city? Research objective: The objective of this article is To revisit the concept of interaction and align the principles of Multimedia Learning with urban Interactive Posters and audience experience. Research Method: This research is fundamental in nature with a qualitative approach, using descriptive, analytical, and comparative methods, and has an applied character. Data were collected from reliable library and online sources and analyzed with a focus on Mayer’s theoretical principles. In this context, two Interactive Posters were analyzed as case studies: the Motion Poster Weltformat Festival and the Printed Poster Arsenic Season Opening, both of which are applicable within urban graphics and represent significant examples of multisensory interaction in urban environments. Conclusion: The findings indicate that interaction in urban Motion and Printed Posters manifests in both physical and perceptual forms. Applying Mayer’s Multimedia Learning principles, including dual channels, limited capacity, and active processing, enables the purposeful use of citizens’ sensory channels and increases message retention in their working memory. Consequently, the audience transforms from a passive recipient into an engaged, participatory, and meaning-making agent. Problem statement: With the expansion of interactive graphics in contemporary urban spaces, particularly in Motion Posters and Printed Posters, the concept of “interaction” is linked to the active and multisensory participation of citizens. However, in the dynamic and multilayered urban environment, the interactive capacity and the agentive role of passersby in engaging with urban media have received less attention. Richard E. Mayer’s Multimedia Learning theory can provide an appropriate framework for analyzing citizens’ perceptual experience and enhancing the interactive function of urban posters. Therefore, revisiting the concept of interaction in posters and aligning it with Mayer’s principles is necessary for analyzing the audience’s processes of perception and learning. This study seeks to answer the following questions: How is interaction represented in urban Motion and Printed Posters, and what role do the principles of Multimedia Learning play in shaping the audience’s interactive experience in the city? Research objective: The objective of this article is To revisit the concept of interaction and align the principles of Multimedia Learning with urban Interactive Posters and audience experience. Research Method: This research is fundamental in nature with a qualitative approach, using descriptive, analytical, and comparative methods, and has an applied character. Data were collected from reliable library and online sources and analyzed with a focus on Mayer’s theoretical principles. In this context, two Interactive Posters were analyzed as case studies: the Motion Poster Weltformat Festival and the Printed Poster Arsenic Season Opening, both of which are applicable within urban graphics and represent significant examples of multisensory interaction in urban environments. Conclusion: The findings indicate that interaction in urban Motion and Printed Posters manifests in both physical and perceptual forms. Applying Mayer’s Multimedia Learning principles, including dual channels, limited capacity, and active processing, enables the purposeful use of citizens’ sensory channels and increases message retention in their working memory. Consequently, the audience transforms from a passive recipient into an engaged, participatory, and meaning-making agent.

https://www.bagh-sj.com/article_242294_ba7adfe24cc06ff14238c977fa760190.pdf

Nazar Research Center for Art, Architecture and Urbanism (NRC) The Monthly Scientific Journal of Bagh-e Nazar 1735-9635 23 157 2026 06 03 Analysis of Feminist Discourse in Contemporary Iranian Photography Based on Gillian Rose’s Theory Analysis of Feminist Discourse in Contemporary Iranian Photography Based on Gillian Rose’s Theory 69 80 244769 10.22034/bagh.2026.565713.5953 FA Farzad Hamidimanesh Art Research Department, Faculty of Art, Shahed University, Tehran, Iran 0000-0003-4723-0973 Mohsen Marasy Art Research Department, Faculty of Art, Shahed University, Tehran, Iran 0000-0001-5107-2811 Journal Article 2025 12 12 Problem statement: The Feminist movement in Iran has been reconstructed not only as an imported discourse but also as an entity influenced by the complications of the cultural ecosystem and femininity structures of contemporary society. In this regard, the art of photography, as a representational medium, has created a ground for expressing the lived experience of female artists. The present study has deeply analyzed the content and issues raised in feminist discourse, which were shaped under the influence of contemporary social conditions both in the territory of Iran and around the world, and have influenced the contemporary visual culture in Iran, relying on the analysis of the existing feminist photographic artworks. Research objective: The research aims to identify the implications of feminist discourse appeared in contemporary works of feminist photography in Iran to further analyze the concepts behind it. The main question of the research here is: According to Gillian Rose’s discourse analysis method, what concepts are included in contemporary feminist photography in Iranian discourse? Research method: This research study has adopted a qualitative approach based on the discourse analysis method. The social philosophy of Gillian Rose, containing a four-part analytical framework, including 1. production, 2. image itself, 3. circulation, and 4. audiencing, was used for the systematic analysis of the target works. To increase the accuracy of the discourse patterns, the ‘content frequency’ was applied as a scientific index. These percentages are not extracted as mere confirming statistical data; rather, they have been applied as a tool for measuring discourse level and explaining the weight of each concept in the semantic structure of the artworks to analyze the hierarchy established in representation. Conclusion: The research findings show that contemporary photography in Iran has moved from mere depiction of the situation to a critical act and dynamic representations. The discourse dominance of “direct representation of femininity typecasts” (57%) indicates a transition from passive subjectivity to active confrontation with hegemonic structures. Moreover, ‘redefining the identity in the local context’ (28%) and ‘hidden resistances’ (18%) reveal complex layers of intervention that indicate the formation of a plural feminist identity that is aware of Iran’s socio-cultural demands. These results indicate that the art of photography in Iran has become a platform for the conscious reproduction of women’s rights and identity by connecting “form” and “social criticism”. Problem statement: The Feminist movement in Iran has been reconstructed not only as an imported discourse but also as an entity influenced by the complications of the cultural ecosystem and femininity structures of contemporary society. In this regard, the art of photography, as a representational medium, has created a ground for expressing the lived experience of female artists. The present study has deeply analyzed the content and issues raised in feminist discourse, which were shaped under the influence of contemporary social conditions both in the territory of Iran and around the world, and have influenced the contemporary visual culture in Iran, relying on the analysis of the existing feminist photographic artworks. Research objective: The research aims to identify the implications of feminist discourse appeared in contemporary works of feminist photography in Iran to further analyze the concepts behind it. The main question of the research here is: According to Gillian Rose’s discourse analysis method, what concepts are included in contemporary feminist photography in Iranian discourse? Research method: This research study has adopted a qualitative approach based on the discourse analysis method. The social philosophy of Gillian Rose, containing a four-part analytical framework, including 1. production, 2. image itself, 3. circulation, and 4. audiencing, was used for the systematic analysis of the target works. To increase the accuracy of the discourse patterns, the ‘content frequency’ was applied as a scientific index. These percentages are not extracted as mere confirming statistical data; rather, they have been applied as a tool for measuring discourse level and explaining the weight of each concept in the semantic structure of the artworks to analyze the hierarchy established in representation. Conclusion: The research findings show that contemporary photography in Iran has moved from mere depiction of the situation to a critical act and dynamic representations. The discourse dominance of “direct representation of femininity typecasts” (57%) indicates a transition from passive subjectivity to active confrontation with hegemonic structures. Moreover, ‘redefining the identity in the local context’ (28%) and ‘hidden resistances’ (18%) reveal complex layers of intervention that indicate the formation of a plural feminist identity that is aware of Iran’s socio-cultural demands. These results indicate that the art of photography in Iran has become a platform for the conscious reproduction of women’s rights and identity by connecting “form” and “social criticism”.

https://www.bagh-sj.com/article_244769_3d3c8be1a7118107b0405d213b0b91f1.pdf