نشریه هنرهای کاربردی
سال سوم شماره 3 (پاییز 1402)

Office products play a key role in facilitating efficiency and productivity in modern work environments. Therefore, improving the design process of these products can be significantly effective. A user-centered design approach plays a fundamental role in enhancing the performance, aesthetics, and functionality of office products. By combining principles of aesthetics and a user-centered approach, designers can create products that are not only practical and beautiful but also psychologically stimulating and motivational. The goal of this research is to achieve a product and environment that minimizes fatigue and improves workflow. The user-centered design methodology emphasizes understanding user needs and preferences through research and observation, ensuring that office products are aligned with individual preferences and behaviors. Well-designed and aesthetically pleasing office tools enhance user comfort and visual satisfaction. This study utilized a combined methodology including interviews, questionnaires, and observations. In this study, the opinions of 50 users regarding office products were examined, and it was concluded through interviews with users that the positive impact of aesthetics can indirectly increase efficiency and motivation, and ultimately lead to an improved overall work experience. The results indicate that user-centered design can contribute to improving the aesthetics and user satisfaction of office products and enhancing creativity, ultimately leading to increased efficiency and motivation.

Cinema and poetry are two artistic fields whose distance from each other at their Junction is close to imagination. On the other hand, pure cinematic expression has always intended to reveal within itself a reflection of ontological attitudes that are somehow the essence of pure poetry. In this article, the work of a poet filmmaker, Ingmar Bergman and his famous film Silence and the work of a filmmaker poet, Forugh Farrokhzad and his poetry (Wind-Up Doll), are examined in a comparative study with the aim of examining the correspondence between these two categories. The main objective of this study is to understand the narrative in the poetry of (Wind-Up Doll) Forugh Farrokhzad and the film Silence of Ingmar Bergman. The reasons for this choice are the Forugh Farrokhzad’s interest in this work of Bergman and the similar look of the two artists in this work. The study shows that two works use the same plot to express themselves, and the minimalist view of both focuses on the ontological approach. In this study, the characters in the narrative of the film Silence of Bergman were also compared and examined with the poetic statements of Forugh Farrokhzad to answer the main question of how can the similarities of the poetic (Wind-Up Doll) with the film Silence of Bergman be explained in the field of narration? Answered. The results of the study in the three analytical fields of narrative, character and image in the poem of the (Wind-Up Doll) and the film Silence show that what the filmmaker has briefly shown in his work and the Forugh Farrokhzad has combined and reflected in his poetic propositions with its influence, has identical characteristics; that is, the film has a poetic expression and the poem has more of a cinematic image effect.

Comics are usually a story in the form of a number of consecutive images which are often but not always accompanied by text. In terms of dimensions, these stories can include a single image up to thousands of images. In this type, each image carries an independent message, but the images as a whole complete the story and offer the reader a new image at the heart of the story from the previous images. The form of recording these images on a page follows the system of writing and pagination of books, which usually consists of a series of images in the form of paintings or photographs in horizontal directions. The comic strip in its historical journey and within the framework of the arts visually, they have acquired a specific identity and structure. This led these works to become, on the one hand, a special means of expression and, on the other hand, to constantly expand their sphere of influence and sales market. In the digital age and the rapid growth of visual media, understanding the nature of illustrated stories as a new visual language can suggest the pattern and aesthetic system of these works as well as the reasons for their appeal and success. In this regard, knowing its historical journey, knowing the leading countries in this field, the link of this art with other arts such as animation and cinema, and analyzing and knowing the graphic elements of these works can help in the objectives of research. Studying the visual structure of these stories, in addition to helping and teaching to illustrate comics, will be a great contribution to the publication and expansion of this valuable art. According to the content exposed, in this research it is attempted to study the visual structure of two examples of external and internal comics strip, and at the end, comparing the two works, highlighting the aspects of difference and commonalities. For this purpose, to examine two examples of comic strip, the adventures of Tintin are discussed as foreign examples and spies in Persepolis as domestic examples.This research has a descriptive-analytical character in terms of practical objective. The results show that one of the most important reasons for the acceptance of comics is to transform the charge of vocal energy into visual energy so that the audience can understand the message using the sequence of images. Therefore, knowing the structure and visual elements such as composition, color, rhythm, angle of view, etc. can greatly contribute to the success and popularity of these works. As in the leading countries of this industry, such as America and Japan, due to the importance of this art, a specialized area has been devoted to the training of people in universities, if we also pay attention to this importance in our country, the development of this valuable art, which in addition to spending full-fledged free time, can also be effective in the discussion of children’s education, will be of great help.

Caravanserai were built as roadside buildings in the vicinity of historical roads to ensure the welfare of caravans. Tarlab caravanserai on the route of the historical road from Qom to Malair is one of the intermediate buildings of the middle Islamic period. This caravanserai has undergone various physical and functional transformations in different historical periods. No information about this building and its architectural features has been found in historical and scientific documents. The research problem is the lack of information about this work. In this research, two basic questions were raised: 1- Physical evolution and physical and functional characteristics. 2- Comparison of Tarlab Caravanserai with other caravans of the same period and climate, and identifying their differences and similarities. The purpose of this research is to introduce the historical Tarlab caravanserai as a work of the Middle Islamic caravanserai and to raise awareness for the protection and maintenance of this historical building. In this research, interpretive strategy and interpretive-historical method have been used. The findings were collected using document research, interviews and field studies, and the map of Tarlab Caravanserai was completely taken. Then, the architectural features of the work were compared with the caravansary of the same period from the point of view of body and function, and their similarities and differences were analyzed. Investigations showed that according to the interroute role of the studied caravansary and their placement in the historical routes, their function was similar and serving the caravans and caravans, but in terms of physical characteristics, Tarlab caravansary, Kuhn Namak and Rabat Sangi Ahvan have the most similarities. The presence of a portico around the yard and the use of stone materials are among the features that can be seen in the caravanserais investigated in the research.

The state of Qumes, which today corresponds to the current Semnan province, was one of the areas that were considered by the Ilkhanate rulers, where many architectural works were built. The importance of studying destroyed or less remaining architectural works is that some of them have unique architectural or decorative aspects; Or they may answer some historical questions. The destroyed Khodabandeh Mosque in Damghan and the other parts of what is today the tomb of Sheikh Abulhasan Kharqani in the village of Qala-e-Naw of Shahroud are the two places investigated in this research. The purpose of the upcoming research is to recognize these two lesser-known architectural works of the Ilkhanate era and to propose theories about their antiquity and functional accuracy; The research method in this article is comparative-analytical and the data were collected by library and field methods.The results of the research showed that the mihrab which is part of Sheikh Abolhassan Kharaghani's tomb today is a part of a mosque attributed to Abu Saeed Bahadur Khan from the Ilkhanid era. The specific deviation of the direction of the mihrab towards Bayt Al-Maqdis and the inclusion of the word "Bait al-Ma'mor" in the text of the mihrab's inscription are factors that make it clear that the direction of the mihrab was purposely built towards Bayt Al-Maqdis. It seems that the use of Persian language in the inscription of the Mihrab is the first example in the history of Iranian architecture. Also, the results showed that the destroyed mosque of Damghan, known as the ruined mosque, is the same mosque that Herzfeld calls the Khudabandeh mosque, and it was built a few steps away from Pir Alamdar's tomb in order to mistake the Qumes regional governor for a mystic.

It is essential to understand the multifaceted relationships that are formed among the works of art and make it possible to understand the meaning of the produced work. The problem of the current research is to understand how the "accumulation" of Kurosh Gulnari's work is formed and meaningful. This work is made by gluing a large number of coins onto a piece of metal written in Nastaliq script in the shape of the word "money". So far, this work has not been an independent research subject and it is necessary to analyze and evaluate it in the context of contemporary art developments. For this purpose, Gérard Genet's theory of transtextuality, which provides the possibility of interpreting works of art in intertextual relationships, has been used. The main goal of this research is to understand the possible semantic system of "accumulation" through intertextual reading. The main question is, how does "accumulation" become meaningful in relation to other works of art of recent decades? The current research is qualitative in terms of developmental goal, in terms of descriptive-analytical method, in terms of library and documentary data collection, and in terms of data analysis, and it has been analyzed by relying on the intertextual approach. The result of the research shows that it will not be possible to understand the meaning of this work without intertextual reference to the works that have been produced in recent decades. "Accumulation" forms a semantic system by creating intertextual relationships with works of art such as Parviz Tanavoli's "Hitch" sculpture and "Persian Money Maker Calligraphy" by Mahmoud Bakshimokher. In addition to materials and materials for the construction and application of calligraphy; The intertextual aspect in this work is the self-expression of the obsolescence of art, which can be found in the text of the logic of postmodern capitalism.