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Khaled Azizzadeh, Salahadin Molanai, Lida Balilan Asl,
Volume 10, Issue 1 (3-2022)
Volume 10, Issue 1 (3-2022)
Abstract
The period spanning middle of Qajar era to the first decade of Pahlavi is a part of Iran contemporary architecture which is influenced by inevitable alterations caused by modernity. Modern forms and figures have gradually changed spatial hierarchy of houses and their structure and consequently have led to a combinational style. A brief survey of spaces and chief elements of traditional houses of Sanandaj demonstrates these changes quite well. This paper tries to shed light on the prevalent style of spatial hierarchy of house entrances in transitional time period from tradition to modernity in Sanandaj. This research has been conducted using a theoretical approach and by a historical-interpretational method. In theoretical part, a qualitative approach is adopted and considering the literature history, effective factors on spatial quality evaluations are analyzed. The practical part of the research is carried out in two phases and by taking case studies under account. In this viewpoint, the theoretical part is firstly a brief appraisal of the architecture of the historical eras of Qajar and Pahlavi, evolution criteria and social revolutions of those periods as well. Moreover, assessment of houses based on historical periods has been done utilizing field studies, local survey, photography, house plan depicting and existing documents and plots. Secondly, based on acquired field and librarian information, all qualified houses for this research are compared and analyzed to attain a comprehensive understanding of their entrance spatial hierarchy. Findings of the research indicate that there has been a hierarchy in entrance of houses with traditional architecture pertinent to the needs of residents which is neglected to some extent by the designers in Pahlavi period. In conclusion it is admitted that by intermediate spaces, alongside the provision of confidentiality, it would be possible to achieve a proper definition of private and semi-private spaces in houses. Furthermore, disruption in functions and entities of other spaces could be avoided, which in turn leads to introducing a pattern for obtaining confidentiality; an inseparable principle of entity in Iranian architecture and culture.
Dr. Abbas Jahanbakhsh, Dr. Mohammadsaleh Shokouhibidhendi,
Volume 10, Issue 2 (3-2022)
Volume 10, Issue 2 (3-2022)
Abstract
One of the biggest strategic harms and mistakes that a society may suffer is the mistake at the level of dreams and social horizons. In such a way that there is a contradiction and inconsistency between the dreams and ideas that are for a social structure, for example, the "ideal form of the city" and the dream and ideal that is chosen for the whole social life and society is formed around it. The more society tries and spends for that heterogeneous structure, the more it becomes practically incapable and far from its goals and ideals. Therefore, this article, by depicting the favorable future situation of cities, has tried to direct the wishes and dreams of citizens and city managers about the city (and in principle society and life) and according to public acceptances and norms, which is interpreted as culture. To draw and achieve a better future and show that in contrast to the current style of urban planning in the country, which is influenced by the modernist model of the West, one can think of values such as "productive home", "constructive and thoughtful interaction with nature", " Brotherhood-based social system, "land price reduction", "spatial justice and the elimination of segregation", "family-based planning", "large housings", "mosque-led planning" and "neighborhood scale ". The idea of "Zistshahr" (livable city) is an attempt to achieve these values. This proposed model is presented in the form of bio-living complexes and according to the components of indigenous styles as well as the desirability and teachings of Iranian-Islamic culture. The design of the Zistshahr is an attempt to redefine the pattern of construction in newly established towns and settlements, so that it includes a large and productive residential units and provides other urban services in a way that, in addition to provide the needs, empowers families and the provides possibility of formation of the environment by the residents.
However, the realization of this idea requires feasibility studies. The four main issues around which feasibility studies are conducted are: the issue of land and its scarcity, the issue of water and energy supply, the issue of construction costs, and finally the issue of legal capacity.
Findings show that in terms of land supply, the idea of Zistshahr can accommodate a population equivalent to the entire country in an area of about 2% of the area of Iran. In terms of water and energy supply, there are solutions for sustainable urban design, which are explained in the article. Technical and executive costs will be equal to the Mehr housing projects (governmental housing projects in Iran in 2010s) for each residential unit with the help of the stages of construction, the use of more appropriate construction patterns and the use of participatory architecture, with the difference that the total area of the arena and lords of each unit in the city is about 5 to 15 times larger than Mehr housing units and with the help of mechanisms to eliminate and reduce land prices (similar to the methods used in Mehr housing and land supply model in the industrial towns experiences in Iran in 1980s), the design of the Zistshahr model can be more economical, sustainable and more logical than common patterns in urban planning in Iran. In addition to reforming the pattern of newly established cities and towns, it provides a platform for reverse migration to villages and solving the problem of imbalance and centralism in land management, and also plays a role as a driving force for reforming existing cities and villages.
Dr Ali Akbar Heidari, Dr Malihe Taghipour, Mrs Fatemeh Emad,
Volume 10, Issue 3 (3-2022)
Volume 10, Issue 3 (3-2022)
Abstract
The hierarchy in architecture is an attempt to express the concept of transition and the gradual aspect of the process of perception. This principle is well-known as one of the fundamental principles in traditional art and is consistent with the hierarchy of being above its material level. This principle proposes, in the order of reaching a space, the fundamental pattern of connection, transfer and acquisition, which expresses the aspect of exploiting the acquisition of space. In this regard, the mosque is one of the buildings in which the existence of the principle of hierarchy is very necessary in such a way that the concept of garment from the appearance to the inner part as the most important function of the mosque, is represented by the principle of hierarchy. However, during different periods and over time, the presentation of this principle has been made in mosques built in different styles of Iranian architecture in different ways. In this regard, the present study tries to examine various styles of mosques in the history of Iranian architecture. Accordingly, 16 mosques of four styles including Khorasani, Razi, Azari and Esfahani styles (each of the 4 mosques) are selected as case examples. By analyzing their spatial structure based on existing documents, three dimensions of the hierarchy include the hierarchy The shape, size, and location of each mosque in the style of these styles are discussed. The research method is descriptive-analytical based on historical documents. Using quantitative and qualitative methods including use of space syntax software, using scale meter to extract dimensions, and interviewing experts to analyze the facial features of the mosques in order to analyze the data. Has been used. Finally, the results of the research indicated that in Khorasani style, all three levels of hierarchy were at an elementary level in the mosques; in the mysterious style, the hierarchy of place was considered, but with time, this dimension in the styles Azeri and Esfahani; in the Azeri style, hierarchy of size was very much considered, and finally, in theIsfahan style, the hierarchy of form had the most visibility in the mosques.
Mohammadreza Ataee Hamedani, ,
Volume 10, Issue 3 (3-2022)
Volume 10, Issue 3 (3-2022)
Abstract
Many philosophers believe that lifestyle is fundamentally dependent on worldview and ideology. Thus, the emergence of a culture in the social dimension occurs when people's lifestyles are in line with common thinking.Using the concept of guardianship along with Islamic monotheism, the Shiite school offers a practical program for all individual and social aspects of Shiites.In this program, regardless of time and place, it creates a distinct identity. In the process of education, the theoretical foundations and individual and collective skills of the Shiite school are passed down from generation to generation. This study, while recognizing the role of education as a factor in promoting and perpetuating the Shiite lifestyle, expresses the importance of husseiniyahs as a place with the mentioned educational function and to prove the role of husseiniyahs in Kashan in the formation and continuation of Shiite lifestyle. The theoretical framework in this study is logical reasoningandthe findings of logical reasoning research are shown in case studies. Finally, the indicators of Islamic lifestyle and education have been adapted to architectural featuresincluding function, form and relationship with natural and urban context.
Narges Khakbaz, Dr. Mohammadreza Rahimzadeh, Dr. Manouchehr Foroutan, Dr. Sara Hamzehloo,
Volume 10, Issue 4 (12-2022)
Volume 10, Issue 4 (12-2022)
Abstract
Islamic architecture of Iran has passed one of the most prosperous periods in (10-13AH) centuries and the share of the geographical area of capital of Iran in most part of this period, that means the city of Isfahan, for many reasons in this glow has been very important. Although about this growth and prosperity and begin and end and its causes there is a difference of opinion, few people have doubted its existence. In this era until late Qajar period core form and art form were related and had common features in architecture and handicrafts and the coherence and harmony between them were evident. This relation is expressed with the concept of tectonic in the history of western architecture. The concept that theorists have defined it interaction between core form and art form in the context of historical culture. Gradually, this coherence and great thought with the arrival of new materials and construction methods were forgotten from late Qajar period and artistic and tectonic construction was reduced in buildings, and Iranian architecture faced a crisis. Criticism of Iranian today's architecture has been very pervasive in recent decades, Many researchers know the main cause of instability is in Lack of recognition of architectural history of Iran and its technical and artistic construction methods. On the other hand review of researches shows in the tectonic field less been paid to core form and art form of tectonics, so it is necessary to study it. The main research question is How tectonic conform and art form are related in architecture and handicrafts of Islamic Iran in (10-13H) centuries and their similarities and commonalities with the aim of understanding the tectonic rules of the Islamic architecture of Iran. for this reason in this article to recognize of wood tectonic based on interpretive epistemological paradigm, comparative reasoning and qualitative content analysis with explanatory orientation based on Gottfried Semper's theory has studied common wood tectonic features in architecture and handcraft in three levels, whole architecture (the whole building), intermedate level architectural components (column, roof edge and door and window) and small level in handcraft (pulpit, pen box, Kmanche, Tombak, mirror and boxes) in (10 – 13AH) centuries. Based on the theoretical basis of tectonics and considering that wood has been the most practical materials before the arrival of industrial steel in Iran and an important role had in the construction of load-bearing elements such as beams and columns and architectural and handicraft decorations. Wood tectonic is divided in terms of core forms to general forms and articulation and in terms of art forms
to decorative surface. This tectonic features in the collection of wooden handicrafts of Metropolitan museum, Isfahan cultural heritage organization and Islamic art sites is study that have the most affinity in terms of technique and art with wooden architecture in the mentioned period.Wood handicrafts are two types: wood handicrafts which are part of the furniture like the pulpit of Hazrat Abolfazl in Aran and Bidgol of Isfahan and handicrafts that produced as movable objects such pen box, Kmanche, Tombak, mirror and wooden decorative boxes. In wooden architecture on a large scale and wooden architectural elements (beams and columns, ceilings, roof edges and doors and windows) in the middle scale are examined tectonic components from the collection of buildings and wooden elements of this period. In some cases due to the scarcity of pictorial resources inevitably has been used from examples outside the geographical area of Isfahan but attention has been paid that this samples are comparable to effects that notable similarity have with the effects of Isfahan. Because Isfahan has been the capital of Iran, many exchanges has had different geographical areas of Iran and in this regard this utilization does not harm the results of the research. Studies and surveys show that some wooden handicrafts on a large and medium scale are similar with non-wooden architecture and elements such as windbreaks and minarets that most of this heterogeneity is on a large scale and in buildings with masonry materials. These cases have been studied in the sense that in identifying wood tectonic rules are very important. Comparative study of wood tectonic features in handicrafts and architecture in the mentioned period reveals that among core form (general forms and articulation) and art form, there are important similarities in handicrafts and architecture. Wood tectonic harmony is notable in handicrafts and architecture not only in terms of core form but also art form. Tectonic subscriptions that indicate the characteristics of technical and artistic construction in Iranian architecture indicates in Iranian architecture how the building begins and ends, articulation of surfaces and decorative surfaces in terms of formal-structure is done under tectonic rules. Formal-structural similarities of wood tectonic in three scales (macro, medium and micro scale) under the tectonic rules: exposure of form and space (connect to earth and sky), articulation (different materials joint, tongue and groove, sliding joint, wick corner, bar joint and convex corner joint) are tectonic technical principles and the rule of covering surfaces(mosaic surface, border, carving, and negative surfaces) are artistic rules that expresses same tectonic culture. Tectonic culture had similar construction manifestations in similar culture and similar construction techniques have used in different materials.
to decorative surface. This tectonic features in the collection of wooden handicrafts of Metropolitan museum, Isfahan cultural heritage organization and Islamic art sites is study that have the most affinity in terms of technique and art with wooden architecture in the mentioned period.Wood handicrafts are two types: wood handicrafts which are part of the furniture like the pulpit of Hazrat Abolfazl in Aran and Bidgol of Isfahan and handicrafts that produced as movable objects such pen box, Kmanche, Tombak, mirror and wooden decorative boxes. In wooden architecture on a large scale and wooden architectural elements (beams and columns, ceilings, roof edges and doors and windows) in the middle scale are examined tectonic components from the collection of buildings and wooden elements of this period. In some cases due to the scarcity of pictorial resources inevitably has been used from examples outside the geographical area of Isfahan but attention has been paid that this samples are comparable to effects that notable similarity have with the effects of Isfahan. Because Isfahan has been the capital of Iran, many exchanges has had different geographical areas of Iran and in this regard this utilization does not harm the results of the research. Studies and surveys show that some wooden handicrafts on a large and medium scale are similar with non-wooden architecture and elements such as windbreaks and minarets that most of this heterogeneity is on a large scale and in buildings with masonry materials. These cases have been studied in the sense that in identifying wood tectonic rules are very important. Comparative study of wood tectonic features in handicrafts and architecture in the mentioned period reveals that among core form (general forms and articulation) and art form, there are important similarities in handicrafts and architecture. Wood tectonic harmony is notable in handicrafts and architecture not only in terms of core form but also art form. Tectonic subscriptions that indicate the characteristics of technical and artistic construction in Iranian architecture indicates in Iranian architecture how the building begins and ends, articulation of surfaces and decorative surfaces in terms of formal-structure is done under tectonic rules. Formal-structural similarities of wood tectonic in three scales (macro, medium and micro scale) under the tectonic rules: exposure of form and space (connect to earth and sky), articulation (different materials joint, tongue and groove, sliding joint, wick corner, bar joint and convex corner joint) are tectonic technical principles and the rule of covering surfaces(mosaic surface, border, carving, and negative surfaces) are artistic rules that expresses same tectonic culture. Tectonic culture had similar construction manifestations in similar culture and similar construction techniques have used in different materials.
Majid Khavas, Mohammadreza Bemanian,
Volume 10, Issue 4 (12-2022)
Volume 10, Issue 4 (12-2022)
Abstract
Proportions can be called a mathematical concept that creates a good relationship between the components of the work in architecture and likewise a sense of order among the parts of a visual composition in the audience. Proportions not only can can make building component arrengment regular but also it can it can create a sense of aesthetics. Traditional Iranian artists and architects have been interested in geometric proportions and divisions due to their hidden relationships, and have used these proportions in their works. The present study is an attempt to find traces of proportions in Iranian mosques as one of the most prominent elements in Islamic architecture, which has explored the height proportions of four-aisled mosques through descriptive, analytical and library and field studies. An attempt has been made to extract a height or a connection pattern between the components of each of the eight mosques so that a hierarchy of height design can be imagined. In the end, by examining the proportions and height patterns, it was found that in 8 analyzed samples, all the elevation elements of the research were obtained from the height of the courtyard facade and the shortest porch of the complex with golden and Islamic-Iranian proportions. In all the studied samples, the shortest porch of the complex with the height of the courtyard facade has proportions close to the Golden Ratio. In Goharshad, Zavareh, Isfahan and Imam Boroujerd mosques, there is a similar pattern in the view of the south porch, so that the height of this porch is almost twice the height of the courtyard view in these four mosques.
Dr. Reza Sameh, Mr Seyyed Mohsen Mousavi,
Volume 10, Issue 4 (12-2022)
Volume 10, Issue 4 (12-2022)
Abstract
It seems necessary to conduct research on the towers of tomb as one of the outstanding manifestations of Iranian architecture. The dispersal and multiplicity of these buildings throughout the country demonstrates the special position of this type of buildings. Therefore, many cultural and artistic bases can be understood by recognizing and classifying these buildings and applying their architectural methods can help preserve and continue Iranian-Islamic architecture. The present article seeks to analyze the "transformation of the plan of the historical tomb towers in Iran based on time changes", which will lead to the cognition of the patterns of the tomb towers plan and the trend of changes in relation to time periods. The method used in the present article is qualitative that follows the historical strategy. Documentary and library study is one of the strategic methods that includes historiography and typology. Classification of tomb towers, study of the plan and form structure, and conformity to their geographical location and climate are some of the solutions in this article. Required information is also obtained from written sources that analyze theoretical concepts. Samples of 24 tomb towers with various plans and geographical and territorial dispersion have been selected and written data have been studied. The results of the present article confirm that in some time periods or periods of different reign, a kind of supremacy is seen in a form structure or a plan, but this type of relationship cannot be considered as the main factor in the formation of tomb towers because this type of relationship is not repetitive (plan-geographical location or plan-reign period).
- Mahsa Mirsalami, - Ali Omranipour, - Sara Shareati,
Volume 11, Issue 1 (3-2023)
Volume 11, Issue 1 (3-2023)
Abstract
As a behavioral center, the mosque establishes a deep bond with its audience. This connection has been an inseparable part of the functioning of the mosque during many centuries from the creation of mosques until today. Several factors play a role in the behavioral and perceptual experiences of the audience in man-made spaces, including mosques, among these factors; Changes in form, variety of species and body in the structure of mosques are involved in the behavioral and spatial experiences of the audience. In the last decade, we can witness an increase in the formation of neighborhood mosques in the city of Qazvin, and most of these mosques lack vitality, dynamism, and the desired level of attendance of the audience and have simply turned into prayer rooms, this causes the inability to create a link between the space and the audience. The purpose of this research was to investigate the type of relationship between the shape-physical structure of mosques and its effect on the perception of the audience; As the type of geometry, proportions, accesses at the same level, classes and spatial hierarchies, create different perceptual and behavioral experiences for users. On the other hand, the diversity and adaptability of activities and perceptual interfaces affected by the body of mosques on the attendance rate of the audience in the mosque have been examined. The research method in this research is the use of two quantitative and qualitative methods in data collection: the data has been collected through activity reports, questionnaires and informal interviews, which is a comprehensive picture of case samples with characteristics related to quality and spatial configuration. The spaces of the investigated mosques provide the type of perception of the audience and the types of performance. According to the mentioned cases, it is possible to match the syntactic indicators of depth with the physical factors of architecture and use depth indicators to measure the control of arenas and the level of permeability in the mosque environment. Also, by referring to the metric depth in the drawings of the space and the data obtained from the space of the selected samples, it can be examined. In the analysis, the indicators of the depth of the space and the number of thresholds and the location of the middle spaces in the diagram and the percentage of their occupied area in relation to the whole building are used. Since the method of space syntax deals with physical factors in a form and only on one level (the possibility of analyzing the difference of levels is not possible with the method of space syntax), this causes the continuation of the research in order to investigate some physical factors and the relationship between perceptual and behavioral components. Correlation method and formulating a questionnaire should be used on the attendance rate. According to the previous explanations, 240 questionnaires were distributed among the audience of selected mosques, of which 217 questionnaires were completed by the users according to the sample size. Therefore, in mosques with a central courtyard structure, one can observe the variety and adaptability of desirable activities of users in the mosque environment. Limitations in the proportions and spatial distribution of contemporary mosques due to their class nature have caused the interference of arenas and the lack of variety of activity events and behavioral sequences in such mosques, the behavioral currents in the field of essential, optional and social activities have been separated into classes. He says that this leads to the lack of diversity and adaptability of activities in the environment of class mosques and the attendance rate in them decreases compared to the mosques in the central courtyard; The findings of the research indicate that the classification and physical components of architecture such as distribution and interconnection, depth, spatial connection, arrangement and communication of internal accesses on diversity, activity adaptability and also the type of perception of the audience according to the perceptual mediators (needs and preferences) with the duration of the stop and The attendance rate of mosque users creates a strong and direct connection.
Maryam Ghasemi Sichani, Faezeh Shamshiri,
Volume 11, Issue 1 (3-2023)
Volume 11, Issue 1 (3-2023)
Abstract
Historical houses are of special importance in terms of architectural principles and geometric features. This study examines the characteristics of the geometric principles adopted in the houses of the Safavid and Qajar periods. The main goal is to know the geometric characteristics of the courtyard and facade in historical houses and to investigate their influence on each other. Extensive research has been done in this area, but no study has been done to examine the length of the yard to the height of the facade and the ratio of the length to the width of the yard. The statistical population of this study includes historical houses in the central courtyard of Isfahan city, from which 15 houses have been selected and investigated by purposeful sampling. The methodological approach of the research is based on field studies and geometric-arithmetic analysis. The tools used are drawing and AutoCAD drawing software. If the axis of the courtyard is north-south in the studied houses, the facades in the rectangular houses with two, three, and four fronts are placed in such a way that the north facade is higher than the other three facades, and if the axis of the yard is east-west, this phenomenon does not exist. Views and their orientation in the yard are one of the most influential components in obtaining the appropriateness of the yard to the Facades.
Saba Arianpour, Dr Hassan Sajadzadeh, Dr Gholamreza Talischi,
Volume 11, Issue 1 (3-2023)
Volume 11, Issue 1 (3-2023)
Abstract
According to the prevailing view in architectural and urban studies, the bazaar is described as the backbone of the spatial and social structure of Iranian cities. However, various studies on public spaces, especially commercial centers in Iran, show that despite the small growth of these buildings; They
have serious weaknesses in the field of quality. In a way that has caused the degradation of qualitative components and the failure of many spaces designed in the contemporary era has been seen. Recognizing this issue and the lack of behavioral-spatial studies in markets and commercial centers in this article, we have tried to study the relationship between environmental quality in various dimensions, including space with current activities in traditional markets and new commercial centers. Because there seems to be a significant relationship between the type of current activities and the success of the behavioral camp. The research method is mixed and based on observing the range of current activities, spatial configuration analysis and questioning of space users. The study area includes the traditional market of Boroujerd and Diplomat Shopping Center have been selected as two architectural models. For this purpose, 2 behavioral camps in the traditional market and 1 camp in the Diplomat Center were studied. Space Syntax analysis variables included "Integration ", "depth" and "connection". According to Jan Gehl's theory, current activities are divided into three groups: "mandatory", "optional" and "social", and the quality of the environment is divided into four categories: "objective-structural", "objective- functional", and "objective-environmental", "Mental-spatial", "mental-semantic" is divided. The hypotheses were tested using correlation analysis method in SPSS.23 software. It was concluded that the studied behavioral camps, due to their high physical quality, allow the occurrence of selective activities that are more dependent on the physical and physical conditions of the environment than other activities. Also, there is a significant positive relationship between voluntary and interconnected activities in the studied behavioral camps
have serious weaknesses in the field of quality. In a way that has caused the degradation of qualitative components and the failure of many spaces designed in the contemporary era has been seen. Recognizing this issue and the lack of behavioral-spatial studies in markets and commercial centers in this article, we have tried to study the relationship between environmental quality in various dimensions, including space with current activities in traditional markets and new commercial centers. Because there seems to be a significant relationship between the type of current activities and the success of the behavioral camp. The research method is mixed and based on observing the range of current activities, spatial configuration analysis and questioning of space users. The study area includes the traditional market of Boroujerd and Diplomat Shopping Center have been selected as two architectural models. For this purpose, 2 behavioral camps in the traditional market and 1 camp in the Diplomat Center were studied. Space Syntax analysis variables included "Integration ", "depth" and "connection". According to Jan Gehl's theory, current activities are divided into three groups: "mandatory", "optional" and "social", and the quality of the environment is divided into four categories: "objective-structural", "objective- functional", and "objective-environmental", "Mental-spatial", "mental-semantic" is divided. The hypotheses were tested using correlation analysis method in SPSS.23 software. It was concluded that the studied behavioral camps, due to their high physical quality, allow the occurrence of selective activities that are more dependent on the physical and physical conditions of the environment than other activities. Also, there is a significant positive relationship between voluntary and interconnected activities in the studied behavioral camps
Dr Maziar Sardari, Dr Leial Zare, Dr Avideh Talaei, Dr Vahid Ghobadiyan,
Volume 11, Issue 1 (3-2023)
Volume 11, Issue 1 (3-2023)
Abstract
Traditional architecture is a term that has been used after the modernization period in Iran and has been discussed in the speeches of many architects, books and articles, and has been criticized in architecture schools. After the Islamic Revolution and the closure of foreign construction companies in Iran, many famous architectural companies were closed or semi-active. With the outbreak of war and economic sanctions, construction activities declined, and during the eight years of the war, most construction activities were carried out on a small scale, and government projects were often aimed at completing pre-revolutionary construction projects. Some of these few constructions have led to the production of traditional-style buildings that are important to identify and describe because they are intertwined with the culture, history, and transcendent quality of past architecture, and the degenerate identity of today's architectural buildings can be found. This is unknown research that, what styles and how many buildings are there, based on the ideology of these styles in order to continue the rich and traditional Iranian architecture, during the eight-year war. Achieve them is the main purpose of research. In this research, which is interpretive-historical method and analytical-comparative measures, architectural styles are introduced in this historical period to extract styles that have the characteristics of traditional Iranian architecture. Data collection is in the form of documentary studies that will identify buildings with traditional bodies. The results of the research show that during the Eight-Year War, buildings of three styles of "traditionalist architecture", "late modern architecture" and "postmodern architecture" were built in the country. In the meantime, modern architecture lacks traditional features in the body of buildings, but the two styles of traditionalism and postmodernism, that were designed and executed eleven prominent buildings based on their architectural theories, will have traditional Iranian architectural components. Finally, the physical characteristics of each will be analyzed.
1 Hirad Hosseinian, 2 Jamaluddin Soheili, 3 Fariba Alborzi,
Volume 11, Issue 1 (3-2023)
Volume 11, Issue 1 (3-2023)
Abstract
The process of figure structure and understanding message by the audience has a great value, as various visual elements such as point, line, level and volume can be affected on identifying this process. On one aspect, connection with human and its needs in architecture is determined, on the other hand, in some opinions and in relation to the architecture, set of available forces should be defined. Therefore, connection of this process has been linked with the principle of “geometry” and provides space integration as a creative composition. It is possible to obtain a productive structure based on set of rules, in lawful space of geometry in order to decompose complex shapes into a simple form. Where in Naqsh-e Jahan Square, which is one of masterpiece of Iranian architecture, these patterns are shown themselves in different history and periods. As far as, it has entered to the logical comparative phase, based on initial consequential analysis in the form of formation of the square with using logbooks and historical books and then with using geometric analysis of the square and turning this logic into a descriptive form which was in line with theories of Duran, Krier and Herdeg and based on principles such as integration, overlap, angular and rotational, in order to prepare a comprehensive principles for combining shapes toward a gradual evolution. Herdeg brings this overlap into the social classes from individuals to the clergy, which is a link between form and outlook of different stratums. In this research, it has been tried to winded up the effects of social and political principles on formation of the square with using classes such as individual, society and government and also with using visual tools that have been analyzed in this square in different times, and then by recognizing geometric principles between them and sharing with graphic geometry of each classes based on the combination of the complex and by answering to hypothesis such as: it is thought that evolution of Naqsh-e Jahan Square in various times has been due to overlap of geometry of the square with graphic geometry of each classes from individuals to the government, and, in order to prove a principle such as geometry as a basic principle in forming the square in various .times, because of assimilation of geometric quality of the space and connection of the classes.
Dr Seyed Abdolhadi Daneshpour, Mr Babak Akbari,
Volume 11, Issue 2 (4-2023)
Volume 11, Issue 2 (4-2023)
Abstract
Ashura rituals, as one of the important components of Shiite culture, arise from a historical fact that has gradually acquired a social nature. These rituals, like any other social phenomenon, have unique features that will have their own spatial effects throughout history. the localization of the ritual matter depends on going through a long historical and social process. This research seeks to examine this historical and social process by recognizing the nature of ritual from the perspective of social sciences such as anthropology and sociology to find different aspects of how the physical and spatial manifestations of each of these aspects Explain the ritual and explain how the historical and social process of localization of the Ashura ritual. For this purpose, theoretical and historical data are reviewed based on a research method called qualitative content content analysis. Based on this research method, an open coding is performed based on the nature of the ritual, which provides a three-dimensional definition of the ritual. This study shows that the ritual as a metaphor is a reflection of the culture of a society and at the same time as a disciplinary matter is a pattern of behavior and regulatory system and in addition a dramatic matter can be It counts. Then, by classifying the historical data based on the above-mentioned open coding or the same aspects of the ritual, the basic concepts of analysis in research are produced. These concepts illuminate the spatial and physical manifestations of the emergence, metamorphose, and historical evolution of each of the metaphorical, disciplinary, and theatrical aspects of the ritual. Finally, by summarizing these concepts, the themes or the final results of the research can be obtained, which represent the historical process of localization of Ashura rituals. The findings of this study show that the historical process of localization of Ashura rituals in the history of post-Islamic Iran has gone through three different historical periods. Each period can be identified based on how the metaphorical, disciplinary and theatrical aspects of the ritual took place. Also, how these aspects emergenceed, metamorphosed and evolved leads the Ashura ritual to create different spatial features. The first period coincides with the reign of Albuyeh in the first centuries AH. During this period, the emergence of the disciplinary aspect of Ashura Rituals led to the establishment of lamentation tents in the Bazaars of cities. In this way, the first step of localizing the Ashura ritual is formed by producing pointing ritual spaces in the bazaar as the heart of the city. Also, the emergence of the metaphorical aspect of Ashura mirrors takes place in this period, but ritual from this perspective does not have the opportunity to appear in space until the second stage, ie the Safavid period in the ninth and tenth centuries AH. In the second period, with the evolution of the metaphorical aspect, rituals are performed in the private spaces of homes. These private spaces are associated with the establishment of the Recitation of Rawza tradition. the Recitation of Rawza tradition is also the cause of the dramatic aspect of Ashura rituals. The evolution of the disciplinary aspect of the religion in this period, with efforts to expand and control local conflicts at the same time during the performance of Ashura rituals, causes the ritual matter to be located in the city streets as a platform for mourning groups. Eventually, in order for the government to control the performance of rituals, these routes end in government squares. The third period is contemporaneous with the Qajar period, in which ritual spaces acquire the character of a theater and a museum, which is due to the evolution of the metaphorical aspect of ritual. In this period of dramatic development, the ritual in the last stage of its localization process leads to the expansion of the construction of Tekyeh's and Hosseiniyah's based on the spatial and physical pattern of Khanghah's of Sufies and circular axes of movement of mourning groups. In this way, the movement of mourning groups started from a local Tekyeh and after crossing the streets and squares of the city and Bazar, it ended again in the same original Tekyeh. The localization of ritual in the third period leads to the creation of classified, feminized, museum, and theatrical ritual spaces, and forms the last stage of this historical process.
Babak Alemi, Parisa Ashrafi,
Volume 11, Issue 2 (4-2023)
Volume 11, Issue 2 (4-2023)
Abstract
The term “resilience” in the field of architecture and urban planning is a new concept that has recently been considered by experts and theorists in this circle. This phrase (resilience) has spread during time and the other aspects and dimensions related to urban communities such as social, economic, etc. have been also considered. The most important part is that spatial aspect. This dimension deals with the resilience of urban spaces that is continuing of the existence while preserving their identity during historical various changes. One of the types of urban spaces that despite its various environmental changes and crises throughout its history has desirably continued its life are The Grand mosques. So this question is posed that what factors have led to the resiliency of historical mosques over a long period of time? Therefore, this study be posed to investigate the Jameh Mosque of Isfahan and factors that have caused this urban space being resilient. The research method is descriptive-analytical method and content analysis approach. Initially, with the method of deductive reasoning and referring to reliable sources, two social and physical resilience factors were extracted from the theoretical concepts of this field and presented as indicators of the conceptual model of spatial resilience and then it was evaluated by examining the research case study for which was chosen the Jameh Mosque of Isfahan. In general, the effective factors in the spatial resilience of the mosque can be mentioned as follows: Physically resilience; fistly, it would be permeability which has increased resilience. And concerning the second, it could be readability 3. Flexible construction of the mosque through the appropriate ratio between mass and space, modulation (standardization) along with unique and special elements of the mosque (this is significant factor whether in an architectural unit or on an urban scale) 4. Strength in the construction of the building through design, execution And suitable materials have become possible and with the continuous restoration of the space, which has made it possible to update and adapt the function of this urban space, has caused the improvement of the physical resilience of this mosque and consequently its spatial resilience. From a social point of view; 1. Existence of various uses through the flexible form and universality of space to fit contemporary needs, mixing cultural, economic and religious uses in space, which facilitates the performance of today's uses in the body of yesterday. 2. Possibility of access and movement from this space to adjacent uses. 3. Existence of environmental comfort in this space, which is due to the air conditioning and away from pollution (air, sound) caused by the sub-climate in this space and other facilities in this space. 4. Paying attention to aesthetic factors in the design of the mosque, which is a motivating factor for the continuation of activities in the mosque 5. The unique identity of the mosque, which has been obtained due to the existing historical, cultural and social values. 6. The sense of belonging and attachment of the visitors to the place, has caused the continuation of the use of this space and subsequently the spatial adaptation of this historic mosque. These factors, which are components of the spatial resilience model structure, are categorized in eight general categories. As a result, this research indicate that spatial resilience is eight factors behind this.
Mohammad Reza Ataee Hamedani, Latifeh Rabiee,
Volume 11, Issue 2 (4-2023)
Volume 11, Issue 2 (4-2023)
Abstract
Plaster motifs in the architecture of the historical house of Boroujerdi have been used not only for decoration of the house but as symbols to convey certain concepts. The diversity used in these plaster works is very impressive and expresses the valuable architecture of its era in the city of Kashan. In many historical houses of Kashan, which mainly belong to the Qajar period, stucco motifs can be seen in different areas of the house. This grand house, the house of Boroujerdi, has one of the highest ranks in terms of the abundance and multiplicity of motifs. The main goal of this research is to document as much as possible about one of the most important arts of the Qajar era, plaster art. As the first step, we classified the plaster motifs Based on their form and design. Secondly, we counted the motifs and recorded their locations. Finally, we investigated the hidden symbolic concepts in each motif. The present research was conducted using descriptive statistics and content analysis based on field observations, and matching the data with the concepts obtained from library studies. In this study, various information-gathering techniques such as observation, survey, imaging, and coding were used. Our observation discovered a great diversity of plaster motifs picturing objects, plants, fruits, animals, people, and extraterrestrial beings (Jinn). In addition, there were some filling motifs in the background including Khotai motifs. We were able to find 450 figures scattered in 8 locations, including the entrance, alcove, the north side of the courtyard, the decorative gable, the main hall, and the east and west rooms next to the main hall. The motifs concepts were taken from ancient myths, religious beliefs, professions, and occupations. However, a number of motifs are also created under the influence of Western art.
Dr. Mohammad Taghi Pirbabaei, Dr. Leila Medghalchi, Mr. Ahmad Mirahmadi,
Volume 11, Issue 3 (9-2023)
Volume 11, Issue 3 (9-2023)
Abstract
Geometry is one of the important characteristics of architectural space, human is connected with architectural space and affects its creation. The field of architecture expresses a cultural category in which geometry is the tool for shaping space. The formation of architectural space is influenced by culture. The geometry of space is in a cultural framework and in the interaction between different dimensions and levels of space.
The method of this research is descriptive-analytical. The general strategy of the research is retroduction and the purpose of the research is the cultural explanation of the geometry of space in architecture. This strategy is dedicated to the process of building hypothetical models that reveal real structures and mechanisms and is characteristic of the realism approach.
With the approach of critical realism, in which it is possible to explain the phenomena in a general format and they can be investigated in a layered and comprehensive manner, the geometry of space based on culture is explained in architecture. In this approach, the reality of the phenomena can be examined in three levels: Empirical, Actual and Real. The real layer is at the last layer and is the causes and mechanisms of production of visible and invisible events that imply cultural affairs. Cultural geometry is not an absolutely real phenomenon or a completely represented relative one. In the analysis of the geometry of the space according to critical realism, three levels of geometry in the architectural space were identified: first; Formal-Physical that can be observed and measured based on logical and mathematical principles and rules, second; Perceptual-Behavioral that actually exists in the architectural space and causes environmental capabilities, but is not necessarily visible in an outward and explicit way, third; Constructional-Conceptual that deals with the mechanisms of the formation of architectural space by relying on anthropological, sociological issues and a more comprehensive expression of cultural issues. These levels have different characteristics and although they can be examined independently, they are connected and influence each other in the architectural space.
Human creates architectural spaces based on social needs and necessities. In the creation of architectural space, geometry is validated and built, and as a result, geometry changes from a mental position to an objective position by receiving certain mechanisms and mechanisms, and the cultural geometry of the space is formed. At the constructional-conceptual level, space includes spatial meaning, spatial interpretation and perception, and under the influence of effective layers at this level, which are made of cultural factors, environmental factors, and economic factors, it creates events and capabilities in the architectural space, which in Communication with humans can be analyzed at the perceptual-behavioral level. The architectural space is produced on a formal-physical level and can be observed and examined using the senses and experience. The cultural geometry of space, due to its creditable and constructed nature, is updated with changes and developments in temporal- local conditions and the creation of new needs, which can be achieved by identifying concepts and receiving them, to reach newer and more original layers of reality. This complex and continuous system is changing and multiplying in all aspects of human life. With human actions in the architectural space, new needs and developments arise in which cultural and social relations are produced and reproduced, and finally, the cultural geometry of the space is associated with change and updating.
The method of this research is descriptive-analytical. The general strategy of the research is retroduction and the purpose of the research is the cultural explanation of the geometry of space in architecture. This strategy is dedicated to the process of building hypothetical models that reveal real structures and mechanisms and is characteristic of the realism approach.
With the approach of critical realism, in which it is possible to explain the phenomena in a general format and they can be investigated in a layered and comprehensive manner, the geometry of space based on culture is explained in architecture. In this approach, the reality of the phenomena can be examined in three levels: Empirical, Actual and Real. The real layer is at the last layer and is the causes and mechanisms of production of visible and invisible events that imply cultural affairs. Cultural geometry is not an absolutely real phenomenon or a completely represented relative one. In the analysis of the geometry of the space according to critical realism, three levels of geometry in the architectural space were identified: first; Formal-Physical that can be observed and measured based on logical and mathematical principles and rules, second; Perceptual-Behavioral that actually exists in the architectural space and causes environmental capabilities, but is not necessarily visible in an outward and explicit way, third; Constructional-Conceptual that deals with the mechanisms of the formation of architectural space by relying on anthropological, sociological issues and a more comprehensive expression of cultural issues. These levels have different characteristics and although they can be examined independently, they are connected and influence each other in the architectural space.
Human creates architectural spaces based on social needs and necessities. In the creation of architectural space, geometry is validated and built, and as a result, geometry changes from a mental position to an objective position by receiving certain mechanisms and mechanisms, and the cultural geometry of the space is formed. At the constructional-conceptual level, space includes spatial meaning, spatial interpretation and perception, and under the influence of effective layers at this level, which are made of cultural factors, environmental factors, and economic factors, it creates events and capabilities in the architectural space, which in Communication with humans can be analyzed at the perceptual-behavioral level. The architectural space is produced on a formal-physical level and can be observed and examined using the senses and experience. The cultural geometry of space, due to its creditable and constructed nature, is updated with changes and developments in temporal- local conditions and the creation of new needs, which can be achieved by identifying concepts and receiving them, to reach newer and more original layers of reality. This complex and continuous system is changing and multiplying in all aspects of human life. With human actions in the architectural space, new needs and developments arise in which cultural and social relations are produced and reproduced, and finally, the cultural geometry of the space is associated with change and updating.
Narges Loghmani, Nima Valibeig, Hamed Mazaherian,
Volume 11, Issue 4 (11-2023)
Volume 11, Issue 4 (11-2023)
Abstract
The construction of schools has a long history in Iran. But with the evolution of Islamic civilization and the development of literature and other sciences, it was not possible to be content with the circles of mosques where scattered debates took place. Therefore, the establishment of certain centers for this purpose seemed necessary. An institution in which higher education and traditional Islamic sciences such as hadith, commentary, jurisprudence and the like are established. Among the Islamic nations, the first people to feel this need were the Iranians, who for some time built simple, uninhabited schools, libraries, and the like, and then fully equipped schools such as the military. The city of Isfahan is one of the centers of Iranian architecture, which is known as Dar-ul-Alam Shargh, and the construction of religious schools next to its mosques began during the Al-Buwayh and Al-Ziyar periods. But over time, some of them have been lost or their faces have changed and no written information about the condition of their spaces is available. Previous studies on schools can be divided into several areas. Part of it is physical and functional analysis, other categories are typology and in the last part, studies have a historical aspect. According to studies, less research can be observed in the field of historical schools that has divided the functional structure of school spaces. Therefore, in this article, for the first time, by analyzing the functional characteristics, the historical schools of Isfahan have been analyzed. Leading research seeks to answer these questions: What are the most significant criteria in the plan of historical schools in Isfahan, which are included in the functional structure of their plan? And how can these criteria be examined in the micro-spaces of these schools? By answering these questions, one can recognize a part of the architectural identity of historical schools in Isfahan and reveal many meaningful repetitive principles and concepts in these uses. This research is fundamental in terms of what is qualitative and based on purpose. It also studies the samples with an analytical-descriptive approach. The present study is non-experimental in terms of data collection and retrospective in terms of time element. To achieve the objectives of this research, data collection has been obtained through library studies and field methods (plan capture, etc.). The tools used include manual meters and laser meters, as well as video documentation tools including photography. The statistical population of this study includes more mosque-schools (Rahim Khan, Sayyid, Rokna Al-Molk and Hakim) and some mosques such as Abbasi Mosque and Jame Mosque, which have Sulaimaniyah, Nasiri and Mozaffariyeh schools next to them, respectively. Of 23 pieces. Now, in order to provide a suitable measurement for the analysis, the seven mentioned samples have been removed from the statistical population. The samples are purposefully selected and correspond to the eighth to fourteenth centuries AH and their number is 16. The samples in this study are analyzed based on the five criteria mentioned and based on each criterion, different plan structures are presented in the form of tables. Data collection is based on authors' library and field studies. During this research, the criteria of the structural index of the plan of historical schools in Isfahan have been determined. These five index criteria that identify the commonalities and differences in the samples include, spatial diversity (outdoor, semi-open and closed), uses in schools and functions of different parts of the building (educational, Residential, prayer, cultural), building circulation (entrance device circulation, access to cells, access to prayer space in schools with prayer space and domes and movement circulation in the corners of the central courtyard), location and form of the device Stairs include, joining and enclosing the building and finally the type of space system (central-axial). These five criteria have created a different functional and spatial structure in the school plans of this city. These five criteria can be examined in different sections in such a way that in the analysis of spatial diversity, most of the samples have various open and semi-open spaces (in terms of multiplicity) that are formed with the center of the central courtyard. Also, the study of the place of prayer space in schools has placed them in three general categories. On the other hand, he pointed out that in schools attributed to the Safavid period onwards, the use of prayer has a special space, which before this use was shared with other uses in school spaces. Analyzes of the circulation criterion revealed that differences could be observed in different areas and sections of schools. On the other hand, access to the upper floors in the samples is done only with a stair device enclosed in the building. The stairwell is usually located next to the porches. This research can also provide an approach for other researchers to study buildings with similar uses, such as caravanserais.
Dr Ali Akbar Heidari, Dr Yaghoob Peyvastehgar, Mrs Maryam Kiaee,
Volume 12, Issue 1 (3-2024)
Volume 12, Issue 1 (3-2024)
Abstract
A wide range of activities takes place in a home that involves the most private behavior of members to their social and social activities. The organization of this activity is such that, while facilitating them in different parts of the house, their conflicting interactions are prevented. This concept, known as functional compatibility, is directly related to the issue of functional efficiency. Accordingly, the analysis of this relationship is the basis of this research. Also, the study of the development of these concepts in the course of structural changes in architecture that has come about over time is another goal of this research. Accordingly, by selecting 18 samples of houses in the Qajar period in Tabriz, attempts have been made to investigate this issue. The reason for choosing Tabriz as the realm of research is its strategic position in the exchange with the Western world, and the reason for choosing the Qajar period as the realm of research time was the beginning of the introduction of modern trends in the architecture of Iran during this period. The basic theory in this study is the theory of space syntax, and the tools used to analyze are also the Depthmap and Syntax plugins in Grasshopper software. After reviewing the literature, effective indexes of functional compatibility in homes were extracted and suitable syntax for analyzing each of them in the framework of theoretical framework of the research was introduced. Then, by analyzing each sample in the relevant software environment, the data related to each index were extracted and analyzed. The results of the research showed that with the change in the structure of houses, the introverted pattern of the outward-looking model in the late Qajar period, the subject of adaptive work has changed in relation to some indicators and has not changed much in relation to others. This issue is also relevant to the performance of these houses. On this basis, it can be concluded that functional efficiency is a relative concept that, depending on the circumstances, different criteria influence the upgrade or decline. The spatial function of housing as the first human-made habitat has always been and has been discussed and discussed by architects throughout history. Accordingly, households that have a good performance have the characteristics that make them more dignified and livable for the lives of their inhabitants. Creating such spatial spaces in the area of habitation will result in appropriate use and compatibility with the living space of the space. In this regard, the issue of "functional adaptation of spaces" in a home is one of the issues that affects its function and improves its functional efficiency. According to Hiller, one of the main pillars of achieving the desired performance of space lies in the convergence of activities. The existence of such spaces together leads to the establishment of functional relationships consistent with each space and its relation to other parts of the environment. While categorizing different types of penetration fields into compatible categories, it can organize many user behavior in space and sometimes help create new patterns of behavior in space. Accordingly, the present study aimed to investigate the concept of functional efficiency in a home to examine the functional compatibility of different spaces in the home and the way of communication between them. Also, in order to evaluate this issue in the traditional architecture (due to the diversity and multiplicity of spaces in its spatial system), the pattern of Tabriz houses in the Qajar period was selected and analyzed. Accordingly, houses from the early, mid and late Qajar periods in this city were selected as case samples, and by analyzing their configuration, they tried to investigate the subject of functional compatibility among its different spaces and, consequently, functional efficiency It turned out. The tool used to study the spatial configuration of these houses as well as their functional efficiency is the theory of "space syntax" and the tools used in it. Accordingly, the research questions are as follows:
- What has been the issue of functional adaptation in different house patterns in Tabriz during the Qajar period?
- Impact changes on the spatial configuration of different house patterns during the Qajar period in the city, what effect have they had on the functional adaptation of their different spaces?
- What impact did these changes have on the performance of these houses?
In the beginning of Qajar dynasties, due to the political, military, geographic and economic importance of Tabriz, Fath Ali Shah Qajar decided to hand over the Tabriz government to its crown prince Abbas Mirza. From that date, Tabriz was known as Dar al-Saltanah or Karajadzhani during the Qajar period. On the other hand, the deployment of this city in the main frontier between Iran and the west turned it into a gateway to enter the western world. This caused the first manifestations and elements imported from the West to pass through this city, and sometimes some of them would be used in the city for the first time.
Dr Akram Hosseini,
Volume 12, Issue 1 (3-2024)
Volume 12, Issue 1 (3-2024)
Abstract
In addition to the prosperity of the country in various fields and the establishment of a national government after a long period, the Safavid period, for the first time on a large scale, Shiism became the official religion of the country. Current thoughts in this period, originating from Iranian-Shiite approaches, had unique characteristics. Due to the major role of mosques in this period in the political and social structure of the country, it is expected that the architecture of mosques is also influenced by the mentioned ideas. This research was formed with the aim of answering the question of what changes the approaches of the Safavid period have caused in the physical characteristics of the domes of Safavid mosques and what effects these changes have had on the human perception of the architectural space.
The purpose of the research has been achieved by comparing the physical characteristics of the dome of mosques of the Safavid period with mosques before this period. Since domed mosques have become popular since the Seljuk period, the statistical population of the research is ten Seljuk domes, ten Ilkhani domes, twelve Timurid domes and eleven Safavid domes, which are divided into two groups of mosques based on the dimensions of the opening. They are divided into big and small. These 43 mosques include a large number of the entire documented statistical population. Due to the historical nature of this research, the interpretative-historical method was used in combination with quantitative methods and the data were analyzed in a logical inference manner.
The results of the research show that the geometric features and proportions of the domes of the Safavid period show the greatest conformity with the Seljuk domes. In the domes of the great Safavid mosques, all the physical components studied compared to the mosques of previous periods, in order to create higher domes; have increased significantly. Compared to small mosques, large mosques show more structural differences with the mosques of their previous periods. Regardless of the dimensions of the mosque, the noticeable reduction of the internal proportions of the dome of the Safavid mosques compared to the domes of the previous periods, makes the space more human-centered and brings a more favorable spatial perception.
Engineer Zahra Ezzati Kar,olia, Doctor Azita Belali Oskui, Engineer Yahya Jamali, Doctor Aref Monadi,
Volume 12, Issue 2 (6-2024)
Volume 12, Issue 2 (6-2024)
Abstract
The yard has been one of the main spaces in the houses, especially in the traditional architecture of Iran, which has played a significant role in the formation of the spatial system of the houses. The main question of this research is what is the relationship between the spatial organization of single-yard and two-yard historical houses with the number of yards and the purpose of this research is to discover the relationship between the number of yards (single-yard and two-yard) with the spatial organization of historical houses. For this purpose, First the factors affecting the spatial organization of historical houses have been studied, and with the descriptive - analytical method and with a qualitative approach, these components were analyzed in case examples. The required information has been collected by referring to library sources, cultural heritage organization documents and field impressions and the statistical population is single-yard and two-yard of Qajar houses in Tabriz city. In this research, among the different spaces of historical houses, the main and selected spaces of the house, which include the entrance, courtyard, reception hall, rooms, veranda and stairs, have been examined. Based on research findings, in historical houses, there are various components that have been influential in the spatial organization. One of these components is the geometry of the spatial layout; Examining the architecture of historical houses often shows that the yard is usually a focal space. Therefore, the pattern of radial and central layout is more prominent in courtyard-oriented studies. Also, the geometric pattern of the space around the courtyards, which indicates the geometric form of the fronts built around the courtyard, is also effective and can be investigated. Another component is axes; It can be stated that movement axes (internal and external), visual axis and axis of symmetry can be investigated as the main influential axes in the spatial organization. Another component is hierarchy; In historical houses, spatial hierarchy and access hierarchy are proposed and according to the studies about courtyard, it can be said that the length of the courtyards, depth and permeability are influential in the spatial and access hierarchy; So it can be said that in single-yard and two-yard houses, there are various factors such as the geometry of the spatial layout (based on the central and radial layout pattern and the geometric pattern of the space around the yards), axes (based on internal and external movement axes, visual axis and axis of symmetry), spatial and access hierarchy (based on the length of the yards, the depth of the spaces compared to the entrance and permeability) that in general, it indicates a specific type of spatial organization associated with each of the two mentioned species. The results show that these components in both types of plans, although they are similar in some cases, but in some cases, they have caused differences in the spatial organization of single-yard and two-yard plans. Among other things, the investigation of the geometry of the spatial layout shows the difference in the placement of spaces (reception hall, rooms, etc.) compared to the yard, the difference in massing around the yard and the number of fronts built around it, the degree of introversion compared to the type of yard and etc. Examining the axes shows the differences in movement paths and intra-spatial communication, differences in the direction of the visual axes and in the way of observing symmetry and etc. Examining the hierarchy shows the difference in dividing the areas of the house, the difference in the placement of spaces at different depths compared to the entrance according to their use and etc.
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