Parisa Mohamad Hoseini, Ali Javan Foruzandeh, Esmaeil Jahani Dolatabad, Ali Akbar Heidari,
Volume 8, Issue 4 (winter 2020 2021)
Abstract
The home as the oldest and closest human shelter has a direct relationship with human culture. The connection between culture and architecture is more pronounced in vernacular residential architecture. Vernacular houses are the result of choices and adaptation of humans to the environment over time. They have evolved from the evolution of human experiences against various cultural, natural, biological, and economic factors. Human beings are always in the position of choosing different subjects of their lives. But what is true is that people usually choose things in different situations that are consistent with their mental structures, and at the same time, the result of that choice can meet their needs. It can be assumed that human culture is the basis of its various choices. Choosing is, on the one hand, influenced by the environmental conditions, which, basically, the type of response to these conditions influenced by cultural variables and attitudes of individuals.
Therefore, the main question is the question of what, how and why the effect of the «choice» factor, especially cultural choices, is on the formation of the vernacular house›s structure in Ardebil. The purpose of this study is to understand the semantic dimensions of the vernacular houses of Ardebil and to analyze the role of cultural choices in shaping of spatial_ physical and behavioral patterns, and in organizing the structure of houses. Accordingly, a number of houses belonging to the middle class of the city from the late Qajar and early Pahlavi periods in the traditional context of the city of Ardabil were chosen as a case study. Then the physical dimensions and cultural and behavioral components related to their inhabitants were extracted. The methodology of this research is qualitative. The method of data collection is field studies, documentary studies, and semi-structured interviews. The method of analyzing data is descriptive-analytic based on the rational reasoning method and qualitative content. The research steps are pursued in four steps: in the first step, the «basis of choice», which consists of two sections: «environmental factors» and «basic assumptions of culture» or the third level of culture, are explained; In the second step, the «Indicators of choice», which include the second-level variables of culture, such as do›s and don›ts, norms, rules, expectations, and valuations, were analyzed; In the third step, the «manifestation of choice», which are examples of the Indicators of choice as «meanings», were examined; And in the final step, «Impressions of choice» or Patterns of space and patterns of current behaviors related to
housing were analyzed. Following the above process in the formation of the structure of vernacular Ardebil houses in the late Qajar and early Pahlavi, the results were as follows: Environmental factors such as economic bottlenecks and cold climates formed meanings such as courtesy, self-sufficiency, foresight for the winter and ... as examples of choice indicators. These factors have had a great influence on the physical structure and discipline of the residential spaces of vernacular Ardebil houses in all three macro, middle, and small scales. For example, the orientation of the building, the establishment of the kitchen inside the house, the use of thick walls of brickwork and double-glazed windows, the presence of minimal spaces (consisting of a linear extension of a two-part pattern of the atrial chamber), simplicity in the components of the building, the use of indigenous materials and ... . Social and cultural commonalities such as worldview, religion, values, and beliefs, and ideals in the homogeneous and traditional Ardebil community of the time have shaped such meanings as the need to preserve kinship and neighborliness, the importance of the structure and position of the family, and norms and values such as religiosity, traditionalism, veil, Empathy with the people was in the minds of the people. The physical implications of these meanings are building houses of the same spatial pattern, without indicating superiority and isolation from other buildings, observing Islamic norms in the construction of houses, adopting solutions to privacy in houses, and so on. On the other hand, the behavior settings, the type of use of spaces, spatial divisions, territories and spatial boundaries, the relations of spaces, the use of communal spaces, etc. have also been influenced by valuations, norms, requirements, and the necessities of cultural factors. In sum, it can be said that culture in two stages affects human choices in relation to the issue of housing: 1) The basic assumptions or variables of the third level of culture (Figure 1), determine and explain the range of choice options for individuals. 2) Indicators of choice or second-level variables of culture (Figure 1), by defining a set of values, requirements, and necessities, generate meanings and orientations for the basis of choice, including environmental factors. This will prioritize some options against other options. Hence, human choices can be considered «cultural choices». Cultural differences are one of the most important factors influencing people›s choices. This means that differences in the culture of different societies create different meanings in people›s minds that create different behavioral and physical- spatial patterns. The research process of this paper for the recognition of vernacular Ardebil houses can be used as a model for understanding the structure of other houses in other regions and cultures. However, the method used in this research will have different results for different climates and cultures. However, given the fact that many variables of the basis of choices, such as climatic conditions and some of the basic assumptions of culture in different societies, have remained constant over time, one can use the results of the analysis of the structure of vernacular houses to improve the housing situation today in order to help make the house more consistent with the ecosystem, climate, and culture of societies.
Behzad Ahangari, Phd Seyyed Reza Hoseini,
Volume 9, Issue 3 (9-2021)
Abstract
Sassanid art and especially its architecture which was influenced by the art of other ethnic groups and civilizations of its time showed many innovations in various fields, including the proper use of gypsum in the decoration of buildings. The Sassanid style of architecture provided a suitable platform for the expansion of arrays. The decorative motifs used in various buildings of the Sassanid period include plant, geometric, animal-human, and script motifs that were influenced and expanded during the Islamic period and influenced many other arts as well. The Jameh Mosque of Urmia, known as the jumʿah Mosque, was formed in different periods so that each part of it belongs to a specific period. The altar of the mosque is located in the dome chamber and has many decorative designs of various geometric and arabesque types; In addition to showing the characteristics of the stucco art of the Ilkhanate era, influences of its antecedent period, that is, Seljuk and the pre-Islamic period, especially the Sassanid period are observable. In addition to multiple decorative motifs and elegance used in this altar, the use of various scripts such as Kufic, Thuluth, and Reqa is also very important in influencing the audience. The purpose of this study is to identify the decorative arrays influenced by the decorative motifs related to Sassanid architecture in the altar of the Jameh Mosque of Urmia. Based on this, the following two questions have been raised: A- Are the motifs and arrays used in the decoration of the altar of the Jameh Mosque of Urmia are affected by the motifs of the Sassanid period? B- Which elements from the Sassanid period are included in the motifs adapted in the altar of the Jameh Mosque of Urmia? This research uses a descriptive-comparative method. A combined method (library and field) has been used to collect data. Data collection tools also include identity graph (ID Graph), photography and observation. To provide the possibility of comparison and matching, first, the information related to each of the decorative motifs of the altar of Jameh Mosque of Urmia and the motifs related to Sassanid architecture were classified separately, and then to analyze the existing motifs, tables were designed and the mentioned motifs were comparatively examined. The results of this study indicate that in the Islamic era, decorative motifs using the pre-Islamic heritage of Iranian art have been used. The results of this study indicate that the arrays used are influenced by the Sassanid period and the plant motifs in the stucco of the Sassanid period such as dragon's mouth-like and elephant's trunk-like in altar are in arabesque and khitan form and in the form of various arabesques such as dragon's mouth and elephant's trunk have evolved with many details. Similarly, Kufic and Thuluth scripts have also been used in the context of these motifs. Geometric motifs also show a more complex shape of geometric motifs of the Sassanid era. Circles and triangles have been frequently used. There are also motifs such as multi-petal flowers or florets with varying number of petal, hexagonal, octagonal and sixteen-petal that have been used in the decorative arrays of Ctesiphon Palace and Chal Tarkhan Rey stucco and kish's Elit Palace stucco belonging to the Sassanid period; In many cases, with modifications, they have been used in a way similar to the previous shapes and forms. In addition, the use of palm leaf motifs, spoon-like motifs, multi-petal flowers, and some motifs such as pomegranate flower motifs that have existed for a long time in Sassanid palaces, have been executed very easily in the columns of the altar. In addition, many plant motifs of the Sassanid period, such as grapevines, pomegranates, palms and acanthus leaves can be seen in combination with arabesque motifs in the altar of the mosque. Also, the leaves of multi-leafed palms, which cover the cornices in various shapes in the form of three, five or seven leaves in the Sassanid period, are used in the decoration of the altar inscriptions, in combination with the script, so that in some parts the three-leafed palm leaves appear in full shape. Elsewhere, a three-leafed palm leaf is halved and used as a two-leaf. Palm leaves, which are sometimes implemented in some cases as singular with smaller palm leaves; in the embossed stucco of kish's Elit Palace, it is shown that various decorations have been done on the leaves. This use of singular palm leaves can be seen in the altar stucco of the Jameh Mosque of Urmia on which geometric decorations have also been worked on them. Another point is that among the decorative motifs of the altar, the basic and the simple motif of Shah Abbasi flowers can be seen in the rib half-vault of the altar of the Jameh Mosque of Urmia, which is interesting in its kind.