Document Type : Original Article
Authors
1
Ph.D. in Architecture, Department of Architecture, North Tehran Branch, Islamic Azad University, Tehran, Iran
2
Associate Professor, Department of Architecture, North Tehran Branch, Islamic Azad University, Tehran, Iran
3
Associate Professor, Department of Urban Development, Science and Research Branch, Islamic Azad University, Tehran, Iran
10.22034/aaud.2024.298544.2525
Abstract
Numerous analyzes have been made on the criteria of beauty and its factors in architecture and art. Each of these perspectives is sometimes defined in the form of theory and sometimes as a stylistic manifesto. The classification of geometric features and visual compositions of architectural and artistic styles can help us to identify the influential elements in the perception of beauty. Stylistics needs to be measured by the product of different artistic or architectural styles in a general judgment. In this assessment, stylistic principles or aesthetic theories can be verified. At the same time, visual preferences are determined from the point of view of untrained audiences for architects and designers. What is defined as a criterion of beauty by professional architects and artists should ultimately be judged by the public. Different architecture and art were examined as background and then one hundred students not related to art and architecture were randomly selected for the test. In this test, a number of images of landmarks in different architectural styles were judged by the participants. . The results were analyzed using statistical analysis. The visual preferences of men and women were matched and it was determined that they have very different aesthetic priorities. But the total audience is mainly oriented towards folding, organic and sculptural styles, respectively. The most prominent visual features were curved lines and surfaces, flexible and fluid forms, legibility, unity and unity in components, balance and balance, integration with nature and naturalism, fit and harmony.These features are pervasive and independent of stylistic divisions.
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