Journal of Researches in Islamic Architecture

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According to the lifestyle, house can be the ground for extensive activities based on employment, cultural, social opportunities for residents. In accordance with needs and activities of human as a space user, Historical houses are built associated with the natural environment. Recognition and protection of values Respect national identity, and Understanding their performance and social role is a basis for understanding and explaining the management system of protecting these valuable elements inhistorical context of Isfahan. Life in some Historical houses is associated with the owner occupation; thus, a space is predicted for working at home. Working pattern at home creates spaces for the profession of the owner, and in some cases, makes some of the spaces multi-functional. Such houses can be classified as historic house workshops. In addition, some historic houses were Occupied by people who were too influential in the social-political conditions of their era; and some of the Important events have been occurred in these house. Despite having historical and architectural value, these Houses can be categorized as an example of the houses of celebrities In Isfahan.
Thisstudy Aims to find out the reason of the House workshop s’ architectural style in the historical context of Isfahan and analyze the space and organization of house workshops in order to understand the presence of work space in the main body of the building. The main objectives to answer the key question will be as follows: Analyzing the residential architecture stance in cultural, political, social and economic evolution in Safavid and Qajar eras in Isfahan so that we can understand the typology of historical houses in this city based on the performance and provide a comprehensive category for the historical houses with performance beyond the housing. This is a descriptive-analytical study develope and usie field observation, literature review and gathered information through interviews with a number of residents of historical houses in Isfahan. The findings were analyzed by a qualitative method through comparing and interpreting.
Based on the methodology, first, the economic and social conditions of Isfahan in Qajar and Safavid periods were briefly expressed. Then, considering the various functions of houses due to prevailing economic and social conditions at that time, the spaces in the body of the house with multiple functions or specific function beyond the space in residential architecture of these historical periods in Isfahan were analyzed; based on specific objectives and questions of the research, historical houses with multiple functions in Isfahan were classified,These houses weredivided into two general categories: 1. Houses that are influenced by other functions and have changes in the form and space; 2. Houses that are not affected by other functions; and no changes have been occurred in the form and body of the house. Then, trying to identify the cause of the multiple roles in the function of houses, the study achieved another category in which the multi-functional historical houses of Isfahan are divided into two classes of celebrities’ houses and workshop houses. Based on the owner’s professional field, celebrities’ houses are categorized into three categories of: houses of cultural celebrities, political celebrities, and economic celebrities. Workshop house is also divided into two categories based on the type of owner’s occupation: 1. Workshop houses that produce certain products; 2. Non-manufacturing workshop houses where the owner’s enforcement activities in various fields (educational, administrative, etc.) can be done at home.
Previously, Zahiri (2014) in his book entitled as «We came, you were not home», based on field studies, examined the place of some of celebrities’ houses in Tehran such as the houses of Badi›ozaman Foruzanfar, AbdulHossein Zarrinkoub, Saeed Nafisi, Mohammad Moein, Sadegh Hedayat, Simin Daneshvar, Nima Youshij, Ahmad, Mehdi Akhavan Sales, Houshang Ebtehaj, Malek al-Sho’ara Bahar, Hussein Monzavi, Sohrab Sepehri, Mohammad Mossadegh, Mehrdad Avesta, etc. In the introduction Of the book, He (or she) says that: “Among these 44 houses, about 40 percent are historically registered and are away from being destroyed by days to some extent. Among the registered ones, 22 percent have Converted to museums, 58 percent of celebrities’ inheritors have sold the legacy of their father or spouse. In addition, among houses which are not registeredas historical buildings, more than 65 percent are destroyed, and there is nothing left but their obscure names»(Zahiri, 2014). The results of this field study indicate the adverse security conditions of this kind of historical houses in the country. Due to having a function beyond housing in the historical contexts, by planning and performing renovation projects, these houses can become economic and cultural institutions in the historical contexts like before. So far, no typology and renovation management system determination of the house workshops and celebrities’ houses have been conducted in the historical context of Isfahan. This research demonstrates that we can present a classification and typology based on specific function in the historical houses with roles beyond housing. Also, we can determine the impact of the relationship between work space and house in the form and structure of the building. Also, in this discussion, through the knowledge gained from the ultra-residential function and intangible values of the relationship between work space and house, we can provide a pattern to explain the renovation projects based on space and spirit revival.

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Man has always been from the beginning of creation, with the Elimination of the name of the shelter challenge was to hand. Humans have always had a place and environment need to protect themselves from the invaders and the conditions in the harbor. Early human, from the beginning, a kind of natural caves that meet this need, were chosen. With the passage of time and the more familiar with different aspects of the human surroundings and his innate needs, sought to find the answer to this need. After the historical epochs, one of the tools and features found in natural, long step in to resolve their needs. He was able to remove this human place, making renewable way. In order to solve this crisis, due to being interdisciplinary research, beginning with the heuristic method and citation study, understanding the factors influencing the culture as well as religious influences on space›s body home. Then with the examination and investigation of a few examples of the Qajar era homes in the city of Ardabil, the understanding of the cultural values of the Islamic world view that the architectural pattern (figure House) leads.
Continue to mention the cultural values of the Islamic world view of influencing the housing and manifestation of these values in the space of a home had reviewed in this research were discussed, which is as follows: Veil-cooperation-cleanliness-contentment-pivot and obey God-humility. Veil, had split the housing in the form of directions (vestibule), the definition of communication spaces, using distinct entrance door, observe the hierarchy of public space and access to a private, defined and limited communication with the external environment as well as easy access to spaces at will. Cooperation, in a book review about homes had space devoted to communicating with neighbors and devote the best space (from the King) has been flashed to the guests.
The purity of the two means physical and mental form, with the placement service is out of the House, the embedded space for shoes, Ken (entrance porch), the presence of flowers and plants and the proper utilization of light and air as well as the presence of water in the chart space dock. Contentment with regard to the dimensions of the external body proportions (thumb), pay attention to the dimensions of the Interior proportions, simplicity of form and the correct investment of mass to reduce energy consumption in buildings is reviewed on the form. Pivot and obey God in the House had reviewed, with addressing abstract decorations (induce spiritual sense) in the atmosphere inside the building, and pay attention to the apparent manifestation of worship, space allocation. Humility also according to abstain from panache and align with the environment by machines (abstain from physical personhood) appeared. Finally, with the cultural values of the referenced in the measurement of the House in the town of Ardabil, Qajari results showing acceptable adherence to these principles and values of homes of Islamic culture. In the end, with the understanding of these factors and values can be used to regenerate the rich architecture and culture from the past of this land.
 

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Daylight historic spaces were the only source of lighting supplier and traditional architects to artistic style as a tool to increase the visual quality of space and concepts used. The light is considered to be integral elements of space and Iranian architectural pattern should also be followed. Lighting pattern of Natural light and provide criteria main research question is historic mosques. This article is to discover the laws governing the lighting of the building and the windows in natural light distribution pattern in the dome By examining the five-dome mosques of Isfahan (Emam mosque, Sheikh lotfollah mosque, Hakim mosque of the Safavid period and Seyyed mosque and Rahim khan mosque of the Ghajariyeh period) Tries to extract pattern designed lighting Traditional architects And solutions to contemporary mosque architects was designed to provide natural lighting.
Data collection style is field and library. This study photometry instruments, field data at three times the length of the day is taken and then Radiance software was extended to one year. According to the criteria presented in the books of lighting standards, brightness, uniformity, light distribution and visual quality of the plan and the observer on the surface were analysed. In addition Time lapse photography to study the movement of light in space from sunrise to sunset as observers from the Field measurements Obtained.
Manifestation of the spiritual aspects of light can be seen in the architecture of mosques prominent Islamic monuments. So not only the most important and most prominent mosque of Islam, but Islamic architecture is the key to understanding.
In mosques to create a spiritual atmosphere of light as something beyond the material has been used and to guide it better indoors, methods and various techniques have been proposed that this has been made possible by designing the windows.
How light distribution, light direction and angle, brightness and glare light the way for quality properties are in space. If the quality of the space light with uniform light distribution pattern is no glare and brightness the direction and angle of the light, was significant and could lead to direct worship activities, design elements windows are designed to create a spiritual atmosphere. Field observations, simulations and photography time lapse all agree on the accuracy of a comment.
On Time lapse photography in field study day, light Direction in the sunrise from altar started and by moving on the west wall of altar, goes toward the floor.
Stains of light in space until around 10 am to the end And then uniform illumination without light spots flows in space Then, at about 3.5 pm stains slowly began to emerge in the middle of the dome home And approaching the sunset, Moving them from the floor started And to the east wall and Grive are to be continued.
There is no stain in Hakim Mosque due to lack of windows in Grive But the other four mosques as is apparent.
Natural light distribution pattern, the distribution, direction and angle of the light in mosques other than Sheikh lotfollah mosque has a lot of similarities. Although the mosques mentioned in terms of dimensions, space proportions and geometry of windows are different But lighting¢s are very similar. If the observer in the dome home sit for hours fixed in position, through the direction light (sunrise to sunset) in the space noticed the passage of time and the approximate time of day. In all the mosques, if someone sunrise at dome to sit expected, the first light stains on altar or near it to attract his attention. Movement of light in all five mosques are the same. In the gaze of the viewer of the altar, the altar of the entire space in the entire day seems brighter. Although the plan for software simulation, light intensity at the beginning of the arrival of more show floor But from a visual point of view, the altar brighter. Of course this pattern in the Sheikh Lotfollah Mosque due to differences in the way in to space is somewhat different. Altar in the plan and the visual appearance is brighter than the entire space. Brightness reaches sixty lux but the average brightness of one hundred to three hundred lux varies between four mosques.
Despite the differences in the historical period architectural features of mosques and the domes, but they warrant the same lighting pattern. Iranian architecture, despite the complexity and diversity of the immense space of a few uses spatial patterns.
In fact, the pattern can lead to mixed results in its products. Lighting contemporary mosques, free from dependency on artificial lighting, natural light also does not have a meaningful pattern. Although the pattern does not dam architectural creativity in creating new spaces and its formation, is inherently creative process But the meaning of creativity in contemporary architectural culture has changed.

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Introduction:
The Transparency is a basic principle in Iranian architecture that has reached prosperity during the time. Isfahan is an important city in architecture because it has been as the political capital in the two important periods. So many valuable buildings have been built in these periods that the houses are more important between them.
 
Literature review:
The architecture was more transparent until the Qajar era but after that in Pahlavi era and contemporary architecture, it be used in different way and has lost the Iranian Islamic patterns. Unfortunately, this principle that has been improved fundamental and theoretical principles of Iranian architecture today will be ignored or less used in design and architecture. If these principles are also applied, its concept and appearance in architecture has changed and has been forgotten Iranian Islamic models. The authors try to answer these questions: How the transparency become manifest in the form of Isfahan traditional houses? How the transparency has been manifested in different era and in which era it has been more evident? Thus, due to this point that the Isfahan homes architecture has become more transparent during the time and different eras, this article studied the transparency principle in the houses forms of two important Isfahan eras.
 
Methodology:
This paper contains the parts are as follows: the theory part that introduces and defines the fundamental of transparency, and the field part that reviewing the principals that make the buildings more transparent in two different periods. So the theoretical part of paper, accomplished by using the library resources and the field studies is done by using authentic maps, direct observation of these houses and interview with experts. Numerous of significant historical houses related to Safavid and Qajar era has been reviewed because the transparency in Isfahan’s architecture is more manifested in these two eras. This comparison between these houses shows the difference of transparency in different periods. The collection of historic homes that have been registered with the National Monuments insist of 83 houses of the Qajar period, 38 houses related to the Safavid period, five houses related to Safavid- Qajar era and 12 houses from the Qajar- Pahlavi era. Among these houses, the buildings those are more impressive in architecture and their plans and map are existed, has selected to review. So 14 houses were evaluated.
 
Discussion:
So this paper has studied and compared the principle of transparency in the design of Safavid and Qajar's homes to recognize and reuse the transparency principle in the contemporary residential architecture. Reviewing different opinion and studies have been done about transparency; show that there are different aspects about this issue. The transparency in Europe and Islamic architecture is different but there are common in some concepts and factors. So it is necessary to set a clear definition. In this article transparency is a kind of design that contains “Reducing the Materials and Lightness”, “Opening the Space”," Permeability and Reflection", "Fluidity and Dynamism "," Hierarchy and Sequence” and “Visual Continuity”.
 
Results:
The transparency is appeared in Isfahan historical houses as the concepts such as “Reducing the Materials and Lightness”, “Opening the Space”," Permeability and Reflection", "Fluidity and Dynamism "," Hierarchy and Sequence” and “Visual Continuity”. Different strategies applied in designing the forms and body of building during the Qajar and Safavid period to create the transparency. So the transparency as a Basic and effective principle in Isfahan architecture, has become more obvious during the time and different periods
 
Conclusion:
The design of the historical houses of Isfahan becomes more and more transparent during the time. Models and strategies that are used in each period are derived from the previous strategies. But these strategies will be completed and more visible in the next period. An obvious example can be seen in the porch (Eivan) of these houses. During Safavid period the porch in addition to climate issues, has been created to opening the space, visual continuity, fluidity and dynamism and lightness in the building. This space applied and with small size in some walls of Safavid houses. But in Qajar houses, these patterns are more completed and developed than previous periods. The size, number of columns, width, height and even decoration of these spaces has increased and become more developed in Qajar houses. These two eras are common in some strategies that applied to make the building transparent. Some of these solutions are: using multiple courtyards, Eivancheh, Mahtabi, Hozkhaneh, and numerous vaults.
Finally; if the transparency is defined as “Reducing the Materials and Lightness”, “Opening the Space”," Permeability and Reflection", "Fluidity and dynamism "," Hierarchy and Sequence” and “Visual Continuity”, the Qajar architecture is considered as the evolved architecture. So it can be said that, Qajar architecture has improved the theories and patterns that applied in the design of Safavid houses and even in some cases has been created innovation in the forms of buildings.

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The need for housing is one of the most basic human needs. According to the principle thirty-one constitution of Islamic Republic of Iran, having adequate housing is the right of every Iranian individual and family. The qualitative indicators of housing has always been the most sensitive instruments are accommodation plan. In other words, Muslims should be chosen home layout, which allows the growth and excellence of the individual, family and society based on Islamic beliefs provide. In this context, the principles of Islam has provided guidance in order to achieve the desired quality of housing.
The research aims is to answer  the basic question that is created: Which factores of quality of traditional architecture can be used due to changes in the conditions of society and the way people live,to lead to Islamic values in contemporary housing. Accordingly, Article is a qualitative study and  For the final evaluation of the Analytic Hierarchy Process data is used. Gathering data on the basis of lists for interview techniques, questionnaires, have been observed. In this way, the documentary and library and map analysis has been used.
Results and findings can be categorized in three parts

• Extraction The Islamic concepts related to housing in the model of islamic optimal housing
• Extraction architectural design patterns of traditional housing fits with this model
• Prioritization patterns based on contemporary Muslim needs

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Privacy as a human need, is the result of adjustment of the interaction between human environment, which under the influence of current patterns of activity and cultural background, leads to a favorable atmosphere. Adjusting the privacy in Iranian homes is one of the fundamental features of Iranian architecture, which has had a profound effect on the formation of the spatial organization and the physical elements of traditional houses. However, the climatic and cultural diversity of the Iranian geographic region has caused different types of Iranian homes. The similar situation in the marginal cities of the Caspian Sea has caused the development of extroverted architecture. The extraterrestrial architecture of the rural homes of Gilan has provided a distinctly desirable privacy setting, in accordance with the requirements of Islamic belief and indigenous culture. In other words, the privacy setting in these homes is unique in terms of spatial structure and architectural elements and is different from introverted houses in the central regions of Iran. Architectural solutions to these types of homes in the provision of privacy have not yet been studied by researchers. For this reason, this paper outlines and describes the setting of privacy and its mechanisms, and looks at how to realize the desirable privacy in the works of the outsourcing architectural index in the rural homes of Gilan. The study first identified the spatial structure and architectural features of the selected buildings using library resources and field observations. Then, the researchers, through presence in the field of research, have focused on the evidence behind the behavior and reactions of the inhabitants, and tried to reveal the profound meanings of empirical data obtained from interviews and observations.
The findings of this research show that adjusting the privacy plays an important role in the formation of spatial structure and architectural elements of extroverted houses. The presence of trees and hedge around the yard somewhat prevents the view of the interior and causes the enclosure of the space and determines the boundaries of the house, farm, and rice fields. Rotating inputs break the view into the building, and as a result, the visual connection to the building is lost. Bөltө prevents others from entering the house. Also, the stairs in the minor axis cause fractures and reduced visibility when entering the room. Ivan and Kotum and Esbo in the front of the room, causing plenty of space and staging the presence of people at home. Basically, Tallar and Tallar room, which are the guest›s place of stay, are in the seconf floor. Yelka and Jirben, the place of kitchen and the living room are placed in the ground floor or the first half floor. In addition to their core functions, these elements lead to a communication sequence, lack of visual aristocracy, and space contention, and thus the private sphere of the family is preserved.
 

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The lack of proper understanding based on the fundamental and original notions of persistent architectural patterns of the house has led to disturbances in the fundamental structures of contemporary home architecture. The design of a home-based on sustained principles and archetypes has had complexities that have been taken into consideration in recent traditional architectural patterns have been one of the most prominent and important ways to meet the needs of their time. Among its achievements are climate and design adaptation, the proper use of natural energy, and the enjoyment of comfortable space for humans. It seems that by examining the nature of the archetypes, their applications in the residential design are represented. In this paper, after reviewing the basic principles of residential patterns in case studies, the design criteria used in them are extracted. The purpose of the research is identifing the old architectural patterns of the Kashan houses and its efficiency in designing modern residential architecture. The research method is based on case studies that analysise the content of the texts to identify the conceptual framework for understanding the design criteria. An overview of the role of patterns can be pointed out in terms of its functionality to meet the needs of its time, such as the central courtyard, the Godal Baghcheh (the construction of the main spaces at the negative level), spatial hierarchy, spatial expansion, etc. They are, for example, placing the outdoor space in the center of the house, orientation based on the use of natural factors such as sun, water and wind, roof tiling, sun light and even engaging such as colored glasses from a set of patterns which has a good response in terms of climate, style, aesthetics, and performance. Using the archetype in today's architecture, architect should pay attention to the reason for the emergence of the old patterns. What was the reason why each pattern was originated and what needs to be answered? Finally, how can they be improved by increasing their qualitative dimension with the continuation of them in the formation the spaces of today's homes? In addressing each of the dimensions we want to identify the criteria we can use to cite impact of each criteria to form a pattern-based space. The research is qualitative and analyzes the content of theoretical texts by the research samples. Finally, an analytical review of approaches and considerations consistent with the content of the concepts of theories is obtained to assess the qualitative criteria achieved. Issues raised through representation are examined. Using this method, the studied houses are considered based on the proposed criteria based on the shape structure. Therefore, in this section, the dimensions of the climate, spatial organization, relationship with the earth, materials, proportions and spatial geometry in the four dimensions will be studied to summarize the desired dimensions. Considering the basis of the research, which is based on qualitative analysis, sampling was selected randomly from houses built in the past and present in both Kashan and Yazd. In this regard, the principles based on architectural design patterns in the past and continuity in today's architecture is extracted. Then, based on the conceptual model presented, the criteria were classified into the components of natural structure, physical-space structure, and visual structure. After assessing the reliability of the components by the experts, the level of impact and more comprehensive principles were identified. Subsequently, the semantic analysis of each that was carried out in the studied samples. The results of the research show that the architectural patterns of the houses studied in natural, physical, spatial and visual structures through 15 concepts of hierarchy, spatial equilibrium, flexibility, introversion, collective activity, sensibility, security, energy efficiency, confidentiality, confinement, vernacular materials, static, natural varieties, natural elements, and architectural negative-level are recognizable. These concepts are introduced in the formulation of the criteria of spaceism, introversion, naturalism, and structuralism. These items are more likely to be found in the homes of Saleh and A house, Yazd. In the later spatial organization, lowering the level of clearance (architectural negative-level), the Govdal Baghcheh means the use of the yard in the center of the house and the use of natural lighting and communication with the open space can be viewed on a wider level. In the dimension of the space hierarchy, space communications are considered in two horizontal and high altitudes, open, semi-open, closed, and spatial space, based on space and movement. In the pattern of introversion, there was no direct visual relationship between the inside and the attention to the design of open spaces that could provide direct visual communication; the confidentiality of limiting the attainment of the mental comfort of residents in the home and the observance of safe privacy; spatial communication to develop the activities of the residents of the house is examined. Finally, by evaluating these criteria, the archetypes that can continue in the architecture of today's homes are presented in the form of an analytical-applied model.

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Identifying ideal user is a basic function of theoretical debates of urban design.  Here, the situation of the concept of” Ideal user” is enquired in three main categories of social theories used in urban design discourses (i.e. socialistic theories, ecologistic ones and performance-based theories) and it is shown that none of them is of enough relevance to Islamic model of socio-spatial relations and there is critical conflicts for their simbiosis. The negation of middle-scaled groups of cultural society (i.e. the family and neighbourhood) in socialistic theories as well as the anti-idealistic and individualistic assumptions in the ecologistic theories make them unreliable for Islamic aims. The performance based theory in its turn bases its debate on non-honest relation from ethical pont of view and has not proper basics for Islamic view. So a new theory based on Quran and Ahadith is proposed for socio-urban interactions that can be summarized as: In Islamic view the out-of-home environment is a place for relations of the kind of the limited home-like ones that emerges from duties and rights that Islam puts on members of Islamic society. So it can be said that urban space is an expansion of the home inner space. And in this model the society is not seen as a unit composed of individualized persons whose individuality emerges by exiting home; but the community emerges from expansion of family nodes and sharing of borders of fields arranged around such centers and so the urban space is formed - in its turn-  upon nucleous made in developing homes. It is not made from summing up personal spaces and not by connection of them by in-between spaces. Here the definition of urban space as none-residential space or third place in which people look for none-residential relations is cicked out. In other words, in searching for Ideal User for Islamic theory of town design we do not look for “Islamic Fleneur” but we search for a human for whom Islam has made duties to become an ideal person and the responsibility of the urban space is aiding him to depart from existing condition to ideal one.

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