Journal of Researches in Islamic Architecture

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Many scholars believe that social modernity in Iran has been started far earlier than era of Reza Shah Pahlavi with its up-down modernization project and it is argued that there has been an innate social process of modernity gradually developed since Qajar period. So it can be questioned that which one of the two cultural models of Modernity and Tradition has been dominating Qajar artifacts and if there were any clear footsteps of cultural patterns of modernity in spaces of everyday life of ordinary people of that time. Here, this question is inquired from the viewpoint of guest’s spatiality of home. Beginning from this question then domestic examples from first period of introducing of modernity to Iran (since Qajar to starting years of Pahlavi Dynasty) with emphasize on cases of city of Tabriz are studied concentrating on effects of the two cultures of Tradition and Modernity on spatial patterns of hospitality within these houses. The hypothesis of productive effect of dialectic of “self-other” on domestic spaces of modern era is put into critical debate. Three basic patterns of domestic spaces (minimal house, maximal one and collective house) are analyzed from viewpoint of spatial-cultural relations. Each of these three patterns has its special theoretical debate in western discourse of early modernity. For each pattern two example of Qajar houses of Tabriz are selected for analyzing of guest space: Amir-Nezam house and Behnam House are considered as maximalist type, Alavi House and Sehhati house as minimal examples and Rastgar house as semi-community house. So the research method is historical-interpretive based on historical texts, assessments and pictures as well as buildings. The maximal pattern is bourgeois’ that is manifested in Victorian examples. In this pattern all spaces are arranged upon a theatrical scene in which actors are homeowners and audiences are guests. This theatrical model as Goffman argued has been extended to contemporary western house. Introduction of large variety of rooms for various presences of guests can be interpreted as a byproduct of this culture. In comparison, in its Iranian counterpart there is no considerable social distance between the host and the guest in spatial order of a conventional party. Such a view has resulted in unifying of guest receiving space and living space which is placed at the central axis of house. This axial position is a socio-cultural characteristic of guest’s spatiality which is not restricted to maximalist ones. Any separation among people during guest presence would be upon vast family divisions which has no relation to guests. Heavy interior decoration of bourgeois’ internal design is eliminated in many houses of rich men of Qajar as our study shows. Two minimalist patterns of early modernity are arguable: dirty houses of Industrial revolution and what has been called “the minimum dwelling” by modernists. The latter is a product of modernists’ social project which was based on reducing home-living in the favor of social presence. It was an essential step to deny private sphere. The guest’s spatiality here was seen as being with others in out-of-home places. So restaurant and saloons occupied the place of parlors. Searching for Iranian transformation like that model has reverse result. We have shown here that in Qajar small houses of Tabriz, there were no conceptual difference in comparison with maximalist houses while historical documents show no sign of development of out-of-home places for guests. The third pattern is the community houses that were seen as utopias of the project of modernity. From the view point of guests’ spatiality, this pattern is movement towards denying any distance between self and other so the stranger becomes host as well as guest. In utopist text of William Morris (News from Nowhere) such a position is articulated. It has been argued by many writers of western culture that it has been common pattern of medieval society that has been destroyed by bourgeois’ culture. If the utopia were to be realized then strangers should be accepted in common spaces without any exception and if the socialist utopia was going on then maximizing use of common facilities would be seen as an instrument to saving the community so any private guest should make use of common ones instead of host’s ones (the example of socialist Russia housing projects). Khanghah of Daravish in the Islamic word pursues such a pattern with the exception of absence of family i.e. these places where completely masculine spaces. So these could not be extended to dwelling patterns of traditional Iran. In Tabriz of Qajar there were no similar examples to multifamily apartments of socialists’ utopias of early 20th century as well as utopian community ones. The only close examples to utopian patterns of modern guests’ spatiality in Tabriz are rare hotels of late Qajar and a house (Rastgar) with a linear and multi-unit plan that cannot be undoubtedly a Qajar house. It is could be said that social analysis of guests’ spatiality of modernity is heavily based on resolving of dialectic of otherness in western society of 19 century. This study shows that real patterns of modernity for guest’s spatiality at home differs greatly from its counterparts of Qajar Iran and those of Qajar could be interpreted far more persuasively with traditional patterns than those of modernity. So now it is possible to put some query on the hypothesis that tells if there was not obligatory modernization project of Rezashah then there would be an innate Iranian Modernity. Full openness toward strangers embedded at the center of utopian views of intellectuals of modernity and has been at the focal point of modern utopias has no essential meaning in domestic culture of Qajar era of Iran because acceptance of guest as a member of family was so deep in cultural-spatial patterns of those people that modern utopian perspective of fading “otherness” in spatial arrangement of hospitality of home has no new message for that people. So it is conceivable that the theory of innate cultural permutation of Islamic and traditional lifestyle of Iranians without Rezashah’s projects cannot be easily confirmed for social history of Iran.

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The present paper is extracted from a purposeful research aiming at pondering on the recondite meaning of persistence in Iranian architecture during Islamic era and comparing it to the concept of sustainability and contemporary sustainable architecture. It seems that the literature is poor in terms of causes and factors of persistence in Iranian architecture. The limited literature in this area mostly includes descriptions of buildings and monuments of various periods of Iranian architecture. Due to closeness of the meanings of persistence and sustainability, no clear-cut border has been drawn between the two terms up to now. The present research aims at not only depicting the essential difference between the two terms of persistence and sustainability in Iranian Architecture, but also finding specifications and principles of persistent architecture and the factors affecting it. Therefore, this research is after finding the source and cause of persistence and perpetuity of Iranian architectural monuments inherited from old times. Iranian architecture has witness use of persistent patters that are being forgotten due to negligence on the part of contemporary Iranian architects as this valuable treasure and their passive acceptance of imported modern architecture. Nowadays, one of the most important issues attracting Iranian architects is the necessity of persistence in contemporary architecture and revival of Iranian architecture. The authors of this paper hold that analysis of persistent and timeless architectural works and monuments for finding their common geometric patterns can help achieving a solution for grafting persistence on to architectural works. These phenomena play a significant role in the society from both cultural-structural and pragmatic aspects. It is noteworthy to say that finding patterns in common in persistent works doesn’t mean merely copying them, but, giving them rebirth in the modern world with due regard to the needs of modern people as many of Iranian architectural works have structural-physical elements that were persistent at their own time but have lost their use today and they are only inheritance for the coming generations and they are no longer live in their use. What needed most in the present era is not blind copying of the features of Iranian architecture, but is pondering on Iranian architecture and attempting to modernize its features. In the present paper, first, the meanings of persistence and sustainability are presented and compared with each other and the viewpoints of scholars on persistence and sustainability are covered. The results of this research shows that living architecture is the cause of persistence and perpetuity of architecture in modern architecture as the case studies ChoghaZanbil Ziggurats, Naqsh -e- Jahan touristic - religious square, Tabriz Bazzar and Azadi Square can be mantioned. In terms of nature, this research is logical inference. Data was collected using library method and questionnaire techniques. The research questions included: What is the principal difference between persistence and sustainability? What is the most important factor in persistence? What are the effective features and factors in persistence architecture? The results of this research suggest that the most important difference between persistence architecture and sustainable architecture is the factor of meaning and spirituality. Furthermore, regarding to culture, and use of persistent archetypes and ability to absorb addressees are among other differences between persistent architecture and sustainable architecture. It is noteworthy that meaning in this research is a factor that inspires value in the setting, engraves memories in addressee’s minds, creates an identity in the space and place and the addressee understands that the interconnectedness of elements and formation of space are incarnations of the values and concepts of a community expressed in an architectural form. Persistence in architecture is a form of timeless state of living and dynamism that is persistent and lasting. Living means physique and sprit together, not only the physique should be live, but also it should be associated with soul. Persistence is held a kind of historical and cultural continuation in a living body. Living body means a connection between past, present and future that forms identity. What making Iranian architecture persistent is regard to spirituality and expression of the people’s beliefs and culture in architecture that develops in the addressee and becomes perpetual. Nowadays, meaning is lost in architecture, as architect instead of paying attention to God, the origin of eternity, and the original needs of human being, as the caliph of God on earth, and cultural patterns that can be expressed in today’s forms with a little modification, views man connected with technology, tools and facilities which are all transient and consumptive in other words, tools have replaced targets. Based on the results of this research, the major difference between persistent architecture and sustainable architecture is disregard to meaning and emergence of spirituality that maintains culture, identity and cultural capital in any community. The things that can be admitted as a base to rely and creat a new architecture.

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Iranian architecture follows various formal patterns, mostly had been worked in artistic pieces then worked to architectural structures. Deeply looking at motifs in artistic works and architectural plans, streaks of cosmological beliefs can be traced. Nonagon division of squares, "Chaharbagh" or "Chaharsofeh" plans can be among important ones. It seems that these patterns have been primarily used in the artistic motives such as pottery decorations before being evolved in the architectural forms. Nonagon division of square which was lately emerged in form of “nine-bay” plans can be found on the primitive motifs of Neolithic pottery decorations. Chaharbagh –four gardens- plan has been already illustrated on the Chalcolithic potteries which were found in Samarra before being used in landscape design of the historical era. However, proficiency of the Samarra potters in geometry and their awareness about the anatomy of some of the animals has been reflected in motives which were designed at the centre of the internal surface of the dishes. Some of these motives reminds the Chaharsofeh or four Ivan plans which is a typical design of the Iranian architecture in the later historical periods used in several palaces, caravanserais, schools and houses. The present paper attempts to investigate mostly known Chaharsofeh plan. Although there have been varieties of studies in Iranian architecture, but there is not appropriate research on Chaharsofeh plan that resulted to lack of sufficient knowledge on relevant typology. As a fundamental research, present study naturally can be counted a historic-descriptive investigation, where data collected bibliographically. Collections of evidence were comparatively studied, analyzed, and interpreted. Conclusions indicate that there were ancient cosmology in such design and architecture, except ecological considerations. From one hand, cosmological Tetragonal division of the world, and on the other hand ancient beliefs that resemble the earth as "Chahartagi" that tended to center despite of regarding cardinal orientations formed and flourished the design and similar ones. Studies on several valid historic texts indicate that "Chahartagh" label has been used for various monuments, however, it explain and describe an architecture embodiment, but as architectural pattern or a design label it never signal evidences. Chaharsofeh design is appropriately compatible to Iranian architecture and responded to varieties of functions, and at the same time, covered ecological and environmental requirements of architects. It is categorized within two groups first with yard and second without it. First group remained as "four porticos" design in characteristic standard from earlier formation to recent centuries. First samples of such designs were presented at Achamenid architecture at "Treasure' section of Persepolis and "No. 3 Building" at Dahaneh Qolaman. Later, it was worked at Parthian period at Assyria Palace with a vaulted type and at Sassanid period as well. During the Islamic period and specifically in 14th century, this plan was so common that a mosque could not be imagined otherwise. It was dominant model in numerous Iranian houses, caravanserais and schools in Iranian central plateau and introduced "Chaharsofeh Style" to Iranian architecture. Several schools and tombs somewhat followed the design. The other grope subdivided to two groups firstly, the general design multiply at number 5, while the other signals the structure embodiment in a nonagon division. Known domical structures generally related to first group. It was experienced firstly at formalities hall of Bishapur Palace, dated to earlier Sassanid times, and vastly was used at domical structures of later Islamic buildings of medieval periods. The second group is in difference with "introvert nonagon domes" pattern and multiplied at nine. It divided to two itself: some vary functionally with a focal dome and peripheral chambers and small Chaharsofehs, where from exterior there can be seen a small dome from each angle. Although designs on some Sassanid vessels confirm usage of the design in elite architecture of the period, the first examples of such designs come from Sassanid fire temples. It used at some mosques' plan, several baths, several pavilions and tombs in Islamic periods. Although, this architectural standard was developed in Sassanid period, glorious evolution of this architecture occurred in later Islamic period in a way that was never experienced before. Architects and designers of the Othmanid period, specifically “Senan” developed this style in the most magnificent way. Symbolic and advertising features of this architectural style of Othmanid period is significantly sensible in the mosques such as “Shahzadeh” and “Sultan Ahmad” and developed unique masterpieces in the introvert style. Examples of this style have been found with four domes at the four corners while the buildings structure has been divided into five sections. Symbolic examples of this type are the tombs of Samanid governors in Bukhara. At second group, nonagon type, there is relatively big Chaharsofeh with four vaulted chambers around central dome house. Several mountainous castles mountainous, plain and coastal Karvanisarais, and small road cafes also constructed on the design.

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Seljuk period is one of the important periods of Islamic Art in Iran architecture. The Seljuk brickworks represent Iran architectural perfection in aspects of techniques and variety. The magnificence of Seljuk brickworks is not found in other later periods. Therefore, further investigation is needed due to the importance of this issue. In this research, literature reviews, field studies and survey is done by analytical- descriptive method. The aims of research are as followed introducing the important motifs of brickworks identify, variety of layout types, and the sustain modality of brickworks during the historical periods. According to the aims, all of Seljuk monuments in Iran which have brickwork decoration were detected and their brickwork decorations identified. The decorations which were unique at that time and were repeated, has been determined as index motifs. Afterward, these motifs and the techniques were found in Khwarezmid and Ilkhanid monuments and their changes or conversions to other decorations have been identified. Most of the architectural exterior surfaces are decorated by the brickwork in Seljuk period funerary monuments with polygonal plan have the most decorative surfaces such as Kharaghan tombs and minarets. In this period, the simplicity of minarets was changed to richest drawing and decorative forms such as Menar-e Ziar and Cheheldokhtaran. It is noteworthy that in addition to this, the monuments including the Robatsharaf Inn and Jame mosque of Golpayegan are decorated with verity brick motifs which combine with stucco reliefs. In general, decorative designs and prolific body of brickwork is one of the special features of Seljuk architecture. Various brick rows are used in the Seljuk monuments and they are categorized to Golchin, Jenaghi, Hasiri, Doraj, Kofi Magheli and Bannaie inscriptions. Golchin’s motifs have some “mother” patterns which are combined tomake various designs. Golchin motifs perform in tow groups “simple” and “compound”. Jenaghi brickwork, perhaps because of its easy performance,has usually been used in corner of the dome and arches. Also some different technique of brickworks such as “Khofteraste” (relieve motifs), Moshabak, Gerehbannaie perform in outer surfaces of Seljuk monuments. Khofteraste brickwork technique was used in high altitudesin order to relieve its motifs. Moshabak technique was used in doorway to pass light through andGerehbannaie generally was used for minaret decorations Selengeh, Chaharlengeh, Sheshvahasht are the prevalent motifs of Ghereh in Seljuk period. An innovative technique: combination of brick with different materials used in Seljuk period that followed in later periods. Hence, Seljuk monuments are decorated by different brickwork in motifs and techniques including the Golchin and Gereh. In addition, initiative techniques such as the incorporation of brick with tile (glazed brick) or stucco were created by artists as well as Kofie-bannaie. Accordingly, it is obvious that Seljuk brickwork decoration is the rising point of Persian brickworks. In Khwarezmid and Ilkhanid periods, brickwork decorations were not used as extent as before. In these periods, brickwork was replaced with stucco and tile. However, some of brickwork decorations such as Golchin, Doraj, Magheli and Bannaie inscriptions were followed by the next periods. Also, the Gereh motifs of Seljuk period became the source of compound decoration for the next time. In Khwarezmid period, molded bricks with relief motifs were developed. This kind of molded bricks in combination with glazed molded brick or the tile, which were pre-cut or insitu-cut, became very common throughout, Khwarezmid and Ilkhanid periods. In such way that incorporation of brick with tile included the hole of decorations during the following periods. Pre-cut brick and pre-cut tile techniques at the end of Seljuk period were used in GonbadKabud in Maragheh and it became the beginning point of this type of decorations in the following periods. The techniques of brick and tile combination so called-Moarraq (mosaic) exists in Khwarezmid monuments such as ForoumadJame mosque and Malekzozan. Also, some skillfully combination of brick and tile were used in two important Ilkhanid monuments including Gonbad-e Soltaniye and Bayazid-e Bastami treasury. It could be argued that combined decorations (combining brick with tile) belongs to the culmination of Ilkhanid decorations. Hence, variety of techniques and innovations that happened in the brickworks of Seljuk periods caused some changes in the decorations of the following periods. Gradually, new types of architectural decoration over the motif, function, and accomplishment were developed based on changes done during Seljuk period.

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Iranian Islamic gardens like almost every cultures, represent beauty and happiness and improve the public perception. It has also special geometry with philosophical concept related to Islam’s doctrine that is the focus of this research. Following Quran’s contents, paradise is a beautiful sophisticated garden that something flows under its trees. So the comparison between the somatic geometry of Iranian Islamic gardens and the sophisticated conceptual heavenly descriptions of paradise in Quran is the matter of this research. Thus the configurations of the geometry, based on the paths of rivulets and airflow patterns in the gardens are considered here. The research method is interdisciplinary: in the first step, after initial considerations and exploring, the principals of Iranian Islamic garden’s geometry were extracted by a comparative - descriptive method in some selected case studies. The construction of paradise in Quran frames the trajectory of analysis so the next step is analyzing the paths and geometries with a consequential analytical method. Some simulations of the inner wind are presented also. The simulations include a validated computational fluid dynamics (CFD) model to illustrate the airflow current in this geometry. The results demonstrate the physical imagination of Quran’s perception of paradise in Iranian Islamic gardens and the flows under the trees that is framed in a heavenly geometry.

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Abstract

Human beings have always been in an interaction with Nature in accordance with their own ideology and the interface between them has become a rich source of inspiration for most studies. The impact of human beings on Nature is anchored in the ideology or philosophy of life The ideology has exerted so powerful influence that some people believe a typical Islamic city is grounded on and is physical manifestation of the Islamic philosophies and the merely way to be familiar with the ecology of Islamic cities is to comprehend its principles and laws.  In that connection, the way the cities in human civilization formed and constructed have always embodied the ideology reigned over those societies as a result, it is not surprising that in the geographical heterogeneous environments, cities with assorted roles, different levels of significance, and with uncoordinated and disparate development have been formed.

Over the past decades, the attention towards the requisite revival of Islamic values in Muslim cities, or at least the awareness of the fact that Muslim complexes which had their own specific identity in the past have lost their identity nowadays has been augmented. In Iran with the advent of Islamic revolution, whose Islamic features have made its cultural characteristics outstanding, and with the awakening of other Islamic nations, the hope for constructing complexes based on the Islamic principles, values, and philosophies has boosted.

The Iranian Islamic urban Planning and Design should be grounded in the theoretical basics and theories pertaining to the principles and values which are required to be employed in the design, planning, and the development of a life environment suitable for Muslims and to reign over Human's relationship with the environment (natural and artificial environments) and the interaction of Human's beings with each other. These principles and values will be derived from the Islamic instructions, and likewise they encompass prominent aspects of national culture, those of which do not go against the Islamic instructions. It is worth briefly noting that the primary sources of principles governing all Muslims’ deeds, including their urbanization, are the Holy Quran and traditions of the prophet Muhammad.

The meaning, concept, and essence of the elements and characteristics that form Iranian-Islamic cities, the settlement of these elements, and their relationship with people’s habitations are grounded on numerous systems, such as consecration and consecrated urban elements including mosques, bathhouses, etc., trade corporations such as Trade and Business managers, urban administration systems and organizations, religious education systems, ‘shariat’ and Islamic rights, and symbolic systems of some cities.

Urban elements, architectural units, and Iranian-Islamic cities can be framed within several categories: Residential spaces, including single family houses, multi-family houses, joined single-family houses with open spaces and shared services, downtown caravanserais, and suburban caravanserais. Religious elements, including mosques, monasteries, religious schools, holy places of worship, sacred tombs and shrines, ‘Hosseiniyeh’ ­, ‘Tekyeh’ and covered and open consecrated spaces for lamentation and mourning ceremonies. Individual and cooperative business units, including the shopping plazas ‘Timcheh’, inns, ‘Qeisarieh’, shops, etc., and the spaces attached to them such as landing-places, warehouses, and stables. Production units, including trade-related workshops, factories and shops for the distribution of raw materials, and suburban workshops. Public Service Units, including libraries, cisterns, public bathhouses, cemeteries, coffee shops, tea houses, and restaurants. Public services and communication networks, for directions (avenues and streets, Bazaars, squares, alleys, paths, dead ends, for water supply and services (aqueducts, cisterns and curbs), and for sewage disposal and water supply through joined underground channels and culverts.

One of the Geographical spaces that always had reflected the ideology of the ruling systems is the phenomenon of the city. According this, the Iranian Islamic city should be a reflection of thoughts on Islam in all aspects. in order to manifest the Islamic values in the city construction, the identification of the values absolutely required that can and should demonstrate and assure the Iranian Islamic identity in an Islamic city are. The purpose of this study is to identify the values, principles and indicators of Iranian Islamic urbanism and Conceptual refining and implementation of the strategies that described them

So for this purpose, the study was conducted on the documents also Delphi technique was used in two stages in order to refine the components, criteria and sub-criteria. In early studies and  from the perspective of experts, four principles of mosque-based, introversion, neighborhood-based and naturalism are the priorities that was considering as the most important and the basic principles of Iranian Islamic urbanism: so by refining their theoretical roots, the mosque-based index at 2 dimension, 7 criteria and 15 items, the naturalism index at 2 dimension, 8 criteria and 12 items, the introversion index at 2  dimension and 8 items and the neighborhood based index in 3 dimension, 7 criteria and 20 items were presented. This research in its realm was studied the Iranian Islamic city in the framework of common indicators in Islamic cities. Basic indicators could be based in all cities with the majority of Muslims. Hence, the context of this study does not mention the separation of Iranian and Islamic city and their definitions and concepts.

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Background: House in Islam, is considered as a center for teaching probity and creating a society without corruption and sin. Quran defines the best settlement for a human being the one, which is consistent with his needs and provides context for his growth and excellence. However, the mentioned factors are forgotten in contemporary housing and the Islamic theme is almost removed from the Iranian houses. So today we are witnessing houses far from the traditional Iranian pattern, which was combined with the rich Iranian-Islamic culture. In order to eliminate the gap between traditional and contemporary pattern, it is necessary to retrieve the values and principles considered in traditional architecture.

Researchers in this area, introduce features such as "unity, security, identity, coexistence with nature, moderation and social justice, beauty, hierarchy, preference spirituality, perfectionism, modesty, humility, purity, centrality, equality, privacy and comfort for Islamic house.

Purpose: Recent research in a different approach was after the principles, mentioned in Quran about the desired space arrangement in Islamic house, and by examining a sample of Iranian-Islamic house spatial arrangement, tryed to discover the latent geometry of Iranian-Islamic house spatial structure.

The purpose of the current study at the first step was to achieve the indicators affecting the desired spatial arrangement in Islamic perspective by grounded theory, and then evaluating the priorities of these indicators in Iranian- Islamic house spatial structure.

Methods: the methodology of the research was divided in to two main sections; the grounded theory and the case study method.

 In the first section, in order to investigate the pattern of desired spatial arrangement, the related verses extracted from Quran. Then, for apprehending the intention of each verse, the key points extracted from three different Quran interpretations; Al-Mizan interpretation, Noor interpretation, and Nemuneh interpretation. These key points then changed to codes (open coding). At the next stage, the codes with similar concepts gathered in groups called concepts. Psychological effects, social effects, residence interpretations, building orientation, visual contact of spaces, permeability control and different aspects of safety such as personal, bio-climatic and psychological, were some of the concepts extracted at this step. Then in axial coding, the concepts similar in content, created categories. Hence, the categories including the importance of Islamic residence, the importance of desired residence, importance of security, zoning, control and permeability, and the aims of the Islamic house, were some of the created categories. Finally the theory devise by selective coding. Selective coding was used after having found the core variable, which was the “characteristics of the Islamic residence” that was thought to be the core and explained the main concern. When the core variable was chosen, the data were selectively coded with the core guiding the coding not bothering about concepts with little importance to the core and its sub cores. Hence, the categories related to each other, and made four main sub cores; causal factors that include factors defining the cause of the investigation; underlying factors that defines the background of the investigation; preventive effects including factors that prevent achieving the main core; and strategies, which defines the solutions for achieving the goal. So, with the use of the grounded theory, the model of desired spatial arrangement extracted from Quran. Thus, the three key features of the desired arrangement and their application strategies defined: A) bioclimatic comfort and safety. B) Zoning. C) Monitoring and Control.

The second part of the research was devoted to the case study and assessed the extent to which the strategies were applied to Rasoulian house. At this stage, according to the extracted model, application of strategies for preparing bio-climatic comfort (appropriate orientation and spatial settlement of the building), appropriate zoning (visual hierarchy and connectivity of spaces and zones) and monitoring and control (space prmeability and permeability control of spaces and zone) evaluated in the case study in three scales: microscale, macro scale, and middle scale. The macro scale evaluated the extent to which the climatic factors were applied to the building. Zoning and monitoring factors evaluated with space syntax method and its two related software programs; “a-Graph” software, used for justification graph and permeability indicators analysis including mean depth (MD), relative integration and Control, and “Depth map” software, used for visibility graph and visual indicators analysis including visual connectivity and visual control. The mentioned indicators were analyzed both in micro and middle scales. Finally the evaluated indicators were scored according to their responsibility to the Islamic house aims mentioned in extracted model.

Results: According to the results, the example of Islamic-Iranian accommodation was in full compliance with environmental factors. The hierarchy of access and visibility control of access to the space results in more security from theft, psychological security, personal and family privacy, and provides a hierarchically well segregated complex. Besides, the great integration of private and semi-private arenas shows the importance of familiarity in Iranian- Islamic house structure. However, the high integration of public arena (the entrance) with the complex, which means easy access from entrance to the other spaces of complex, was inappropriate for security from theft, as well as individual and family privacy.

Also visibility of the private spaces from the half-private arena, damages the personal privacy. Moreover, the same permeability of semi-public and semi-private sectors from entrance, which means the separation according to permeability was not performed well and may undermine the privacy of the family.  Evaluation of the permeability of entrance space resulted in the priority of privacy to safety in placement of spaces.

Also the linear settlement of some interior spaces with opening on both interior and exterior facades, between interior and exterior yard, shows the importance of bioclimatic comfort in space arrangement. So the features according to their priority in spatial organization of Rasoulian house were as below:

According to the results, the most important issue was the adaptation to climatic factors and creating climate comfort by taking advantage of natural conditions and connection with nature. So, establishing bioclimatic comfort and security was prior to two other defined characteristics. That is while security of invade or theft was less important than the other aspects of security in the spatial structure of this Iranian- Islamic house example.

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"Art Style" means the way of expressing the ideas, conscious or unconscious thoughts and emotions of the artist in his/her work. Social, political, economic and cultural conditions in any society has an essential role in the emergence and promotion of art styles. The changes in these conditions, will cause changes in artistic styles. In the Persian literary history, Persian poetry styles have divided into the styles of Khorasani, Iraqi, Isfahani (Hindi) and literary return period style. The styles of Iranian architecture in the Islamic era that are embodied in the construction of mosques are Khorasani, Razi, Azari and Esfahani styles. In both areas, for each of the styles, according to its historical period, we can suppose some minor styles, which these minor styles will help to more accurate evaluation.

This research tries to answer this question that "whether the specific social and cultural conditions in a historical period have had similar effects on the styles of Persian poetry and the architecture of Iranian mosques or not"; if so, "what do these similarities signify?" Moreover, can any elements be found that they be repeatable in all styles and in all eras, and if so, how can these common elements be interpreted? The importance of this issue is that, inevitably, we have to review and evaluate all aspects of our culture fields, to know our cultural identity, correctly. It is a crucial requirement of our culture that, to know that "whether the various cultural manifestations are separate Islands and apart islands from each other, that have not any relationship with each other, or a unique same sun gives life and warmth to all of them", But as far as the writer is aware, any independent research has not been done on this issue, yet. This research, which is based on descriptive analysis, at first, has explored the architectural styles of mosques and then it has studied the styles of Persian poetry. And the next step is to compare the styles of architecture and poetry, respectively.

To explain the social and cultural transformations and its impact on the development of artistic styles, among various opinions, Pytryn Alexander Sorokin comments - Russian descent sociologist, residing in America- is more eloquent. The article, in the next step, has explored socio-cultural developments and its role in the genesis of artistic styles.

The current study with comparing the stylistic of Persian poetry characteristics and mosques architecture, concludes that, poetry and architecture styles, have had profound similarities in every historical period. So that Khorasani style in architecture can be taken into account corresponding to Khorasani style in poetry; Razi style can be associated with style Seljuk period-style, and also Azeri style with Iraqi style and  Esfahani architecture with poetry Esfahani style (Hindi) were associated. These cultural similarities are due to common spirit in the different aspects of society. These common spirit, has two dimensions: 1. the temporal dimension (Zeitgeist= spirit of the age): This dimension in each period according to the requirements of the same period (Special conditions of social, economic, political and cultural), causes the emergence of similarity between the artistic styles, But because it is temporal, it also Contains differences with the pre and post periods. 2. Atemporality dimension (spirit of the Nation): This dimension contains some repeating elements that at different periods and in various artistic styles, have a constant presence, without being under the effect of external factors, or without attributing to a particular style. These repeating elements, will Make a single configuration that is "spirit of the nation" of Iran. This unit spirit of culture, like an invisible string, will collect reproduced Works in the field of thought and culture under a unit flag. This flag, is our 'cultural identity'. Perception of the spirit of "Iranian culture"  which has deep spiritual richness in companionship with "Islamic culture", only is achieved when, with insight and enlightenment, we remove the curtain from the face of spiritual and cultural heritage, to percept the unique truth that lies on its backend.

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In creating and continuation of the life of architectural heritage, there have always been numerous aspects influencing; recognizing such aspects is a crucial point in conserving the works of every land. Today, hastened integration of historical countries with modern conserving current has led to a shift in definition and understanding metaphysical aspects of the works within such countries. Since a major part of methods, styles, instructions, definitions and even vocabulary of conserving heritage come along with scientific and technical aspects, they are considered neutral; they are allowed to enter the conserving system of Eastern and traditional countries, and gradually, the heart of the metaphysical concepts and contents of conserving in such countries has replaced the conserving tradition. Indeed, understanding and referring to metaphysics in Western view illustrates such issue and attempt in its revival and recovery beyond conserving the heritage physically, that is worthy. However, as it is stated in the basics of contemporary heritage conserving, it is required to refer to thought and theoric basics of each country to safeguard native values.

Considering this point is essential from two perspectives: first, the effect that this shift leaves in understanding metaphysical aspects in today’s Iranian conserving, and second, the necessity of transmitting metaphysical aspects hidden in the works to coming generations.

Consequently, the present study is seeking an answer to the question whether the metaphysical aspects can be used in western conservation viewpoint to express metaphysical aspects of Iranian architectural works. Thus, taking a look over metaphysic in Western view, we compare it with Islamic-Iranian view.

To investigate the metaphysical issues in Western theories of conserving, this survey has referred to international texts, charters and the ideas of thought leaders in the field of architectural conserving, and according to how each era considers metaphysical points, it divides such texts into three sections and then, studies them. Then, from among the texts of each section, the key terms introducing metaphysical aspects, explanations, definitions and the method of defining such aspects are extracted. It worths to point that only those Western intellectual currents which directly affect conserving are named. Consequently, instead of selecting a particular approach in western thought and generalizing it to or comparing it with conserving current, this study tries to extract the Western philosophical and intellectual approaches from the very heart of available currents of conserving.

In architectural conservation in Iran there is a perspective called Iranian-Islamic whose meaning is the influence of Islamic belief and thought upon tradition of conserving architectural works during Islamic era of Iran.

This paper is going to find a “field-raised” approach to investigate the available examples and methods of conservation which form a part of conservation tradition in Iran. As a result, through moving from example to the concept, the attempt is to extract the religious concepts affecting the deeds. The examples of considering spiritual and metaphysical issues are derived from oral interviews, field and library works. Rooting such concepts takes place through arrangement of extracted parameters and codes. Referring to verses of Holy Quran related to the subject matter and also utilizing Tafsir al-Mizan, the personal interpretation of religious issues is prevented as much as possible. Finally, through analytical-comparative method, the similarities and the differences between two perspectives in explaining metaphysical aspects are discussed.

The analytical comparison indicates that the mentioned metaphysical aspects in Western view does not include all aspects available in Iranian Architecture based on Islamic Iranian view. The essence of these perspectives differs in a couple of views which originates in the difference between their ideology and basics.

Since the metaphysical concepts deal with beyond-materialistic issues, often they have no precision in expressing physical and quantitative aspects. Following this obscurity, the popular usage of the concepts proposed in different historical periods of Western conservation, and those have in common with concepts available in Islamic view solely in vocable, for the first step lead to semantic confusion of such concepts and then their incorrect combination with metaphysical concepts available in architectural works and today’s conservation in Iran.

Also, since the metaphysical aspects of conservation and the architecture, in Islamic viewpoint, are integrated with monotheistic belief and resurrection of human, it does not propose metaphysics from humanistic view point, and considers a vaster range in expression of such aspects. Therefore, it is required to assert that by deletion of Islamic perspective from Persian conservation, the spiritual meanings, concepts and the contents of such heritage is gradually “forgiven” and “feigned”. On the other hand, since such aspects are tied with individual’s internal belief and roots in his resurrection thought, they affect all practical and theoretical pillars of conservation including factor, subject matter and the method of conservation; as a result, to continue and revive such aspects in conservation, through Islamic reflection, training individuals along with education requires attention; as the precession of such issue is capable for review through tutor-pupil methods, professional customs and fotowatnamehs in traditional industries and professions. Thus, action itself as a content is employed to carry sublime religious concepts and constructs a part of conservation and enduring nature of metaphysical aspects in the process of conserving the body. Also, a fortiori, in this view, human is not neutral and his role is to carry the sublime meanings of a tradition. It woths to know that, in Islamic attitude, there is a close relationship between three pillars of conservation that are conservation subject, conservation method and conservation factor which is a human who moves along with divine will, and these three are united under monotheistic view.

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The golden ratio has been claimed to have held a special fascination for at least 2,400 years. Some of the greatest mathematical minds of all ages, from Pythagoras and Euclidian ancient Greece, through the medieval Italian mathematician Leonardo of Pisa and the Renaissance astronomer Johannes Kepler, to present-day scientific figures such as Oxford physicist Roger Penrose, have spent endless hours over this simple ratio and its properties. But the fascination with the Golden Ratio is not confined just to mathematicians. Biologists, artists, musicians, historians, architects, psychologists, and even mystics have pondered and debated the basis of its ubiquity and appeal. In fact, it is probably fair to say that the Golden Ratio has inspired thinkers of all disciplines like no other number in the history of mathematics. The Parthenon›s facade as well as elements of its facade and elsewhere are said by some to be circumscribed by golden rectangles. A 2004 geometrical analysis of earlier research into the Great Mosque of Kirvan reveals a consistent application of the golden ratio throughout the design, according to Mazouz. They found ratios close to the golden ratio in the overall proportion of the plan and in the dimensioning of the prayer space, the court, and the minaret.

Golden Ratio and Geometry,plays an important role inIranian traditionalarchitecture (I.T.A) and it is very serious in bases of construction.In a recent book, author Jason Elliot speculated that the golden ratio was used by the designers of the Naqsh-e Jahan Square and the adjacent Lotfollah mosque.In Traditional proportion knowledge, «Beauty» is not an individual style and verve, and it has geometric rules and methods.Hence, proportional theories created.»Iranian golden Rectangle» and «Gaz and Module» are two main important design ratiotheories in I.T.A.

Many experts expected two above ratios have been used in buildings design by traditional Iranian architects. Testing these two theories in several historic houses of Qajar era in Shiraz city is the aim of present study.

Gaz and module means the unitratios which areused in length measurement. Babylonia and Assyria were invented these measurement units (1Babylonia Gaz=0.53m), which used by Iranian later butby doublingtheamount of it (1 Iranian Gaz=1.06m).

Measurements repeated for width and lengths for all three categories, as repeated. Length and width of spaces calculated in Gaz unit and the compared to Gaz (and its quarter fractional too). Considering the test results data leading to refuse or accept the theory,the difference data with the smallest difference possible is calculated.

Iranian golden Rectangle means the length to width ratio of a rectangle surrounded by a Regular Hexagon, which is not more than three possible ratios (1.73,1.15, and 2.31)depended on the type of architecture space.to perform the study, spaces are divided by three main categories as below:

1- Ccentralcourtyard

2- Five-door rooms

3- Three-door rooms

Analyzing the geometries and spaces results the ratios as below:

1- The Aspect ratio of Central Courtyardis 1.73.

2-The Aspect ratio of Five-door rooms is Apex. 1.73

3- The Aspect ratio of Three-door rooms is 1.15.

Sample selection is done randomly with the proviso that the selection sample is in the Qajar era, and indicator such a shaving historical valueand Also include disa selection from different neighborhoods of old shiraz.

The exact dimensions were recorded and statistical data prepared and analyzed using Spss software. The normality of data was checked by the Kolmogorov-Smirnov test. Accordingly, data was converted to a normal distribution by using a Box-Cox and subsequently t-test was used to test hypotheses. The ratio of coefficient of variation was also used to compare the “Gaz and Module” theory and the “Iranian golden Rectangle” theory. However, architects have been tried to follow the “Gaz and Module” theory for designing important houses spaces, but The results of the study shows architecture of Shiraz historical houses, gotvery closed to»Gaz and Module» theory and not exactly, especially in Qajar period. However, «Gaz and module» theory is not so much accurate, but it can be accepted to study the Qajar era architecture by it.

Considering the actual situation and the plan of the Shiraz historical houses, the authors concluded that deviation from the “Gaz and Module” theory can be explained according to the type of separation and division of lands in other words architects could not get the exact ratios why the land division plans were oblique in many cases. This research and analyze is also done by poor ahmadi and Partners for traditional Yazd houses. They also concluded «Iranian golden Rectangle» is rejected in Yazd houses. Therefore,its advised to expand the analyzes of «Iranian golden Rectangle» theory for other Iranian traditional cities.

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Vernacular architecture is the product of the interaction between local residents and the nature in geographical area which results in unique achievements in providing physical, mental and intellectual needs of human. Vernacular architecture of Bushehr has provided considerable strategies in accordance with the micro ecosystem in its multilayers cultural link. Understanding these strategies can provide ideas for applying in architectural design. One of the ideas was formed intimation  in the hot and humid climate of this city. This principle was very important in some architectural places like Girls› schools. Having contact to the outdoor area, especially for the girl students, who have a low contact because of living in apartment, is very effective in terms of physical, mental and intellectual growth. Therefore, intimation, through increasing the feeling of belonging to the environment, can improve the satisfaction level of girl students to the school which finally improve their creativity. Intimation of schools is considered as providing conditions through architecture and regulations, so that girl students can study in open, semi-open, semi-closed and closed areas of the school more freely and in accordance to the Islamic dress code. This has been considered in the document of fundamental transformation of education and here it has been emphasized on the observance of intimation sentences in the considered area. The purpose of this study is to show the manner of intimating in the schools of Bushehr regarding to the four psychological, cultural, religious, and educational needs. So this study, with emphasizing on intimation in vernacular architecture of Bushehr, and achieving cultural strategies of intimation in climatic architecture of Bushehr, proposes this question: How intimation is manifested in the vernacular architecture of the city of Bushehr? The main strategy for answering this question is a qualitative investigation which has been used for developing the framework of the research; for collecting data it has been used from literature studies, scientific databases and observation methods, and, qualitative analysis has been used for analyzing the data.
Findings of this study shows that intimation in the vernacular architecture of Bushehr has been provided in three scales of micro, middle and macro scales. Intimation in micro-scale refers to the single elements of the building in the vernacular architecture of Bushehr which has been manifested either in the internal aspect (internal space) or in the external aspect (space); these elements in the vernacular architecture of Bushehr include «Shanashir», «Tarmeh», «roof and pre-roof», «sashes and openings», «Parasol», «shelter balcony» and «windows». Each of these elements, in addition to their main function, has been applied in design, components, and connections so that they help for making intimation of internal spaces. Intimation in the middle scale refers to the plan typology and combining of the mass and the space; this study shows that, based on the combination of mass and space (the building and the yard) in the vernacular architecture of Bushehr, and regarding to the position of the building to the historic walls of the city, and also regarding to the introvert and extrovert aspects, two main kinds of floor plan arrangements can be identified: the first kind is the buildings enclosing courtyard: introvert-extrovert (within the historical walls of the city); the second one is building without courtyard including row building(s) inside the yard: extrovert (outside the historical walls of the city). In the macro-scale, forming intimation in the vernacular architecture of Bushehr was affected by the location of the building which has considered the opportunities, threats, strength and weakness points of the building regarding creating intimation; this factor has been considered in terms of adjacency. In another words, based on the neighborhood, it has been determined that at the first stage which plan arrangements including extrovert-introvert and extrovert types, and also which plan types including courtyard, or row buildings, or combination of them, should be applied, and in the second stage, the manner of combining the mass and the space has been determined.
Furthermore, the methods of applying the strategies of intimation in the vernacular architecture of Bushehr have been provided in three scales of micro, middle and macro. It seems that updating the historical patterns, which has been considered and proposed in text and image through this study, can be a proper and referable model for planners and architects of schools, especially of city of Bushehr. Therefore, it is suggested that planners of education spaces on the one hand, and architects on the other hand, through studying considered patterns in this study, to create multi-functions and flexible spaces in accordance with climate desirability to provide refreshing and productive spaces for the education of the next generation of the country in accordance with the Islamic-Iranian patterns, in addition to rehabilitate and to continue historical patterns. Achievements obtained through this study can be a good ground for the next researches with the purpose of extracting intimation patterns of schools in other areas, especially with similar climate to Bushehr. It is hoped that a comprehensive guide for creating intimate schools will be provided.   

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Qualitative aspects of housing always considered as the most critical planning tools and have gained great interest in recent housing research. Housing areas in order to provide social development, involved the environment around in addition to residential units. This paper tries to assess the quality of traditional houses, describe and analyze them to achieve the criteria to devise guidelines in the next step which are effective for increasing the quality of contemporary housing. Iranian traditional houses have a kind of internal spaces structure on the basis of religious and traditional ideas of Iranian families.These houses have manifested native-traditional models of the past history of Iran which have originated from individual and collective cultures of the people, who have been formed, have grown, have been manifested and have reached perfection. Study of Iranian contemporary architecture indicates that it has been changed with regard to its rich and meaningful history during the time. Roots of the principles governing the traditional houses can be found in Iranian thoughts and culture. Any building which is constructed aims at fulfillment of some living needs. Traditional houses are not only a shelter. Residence indicates meaningful link with the place which can include all of the different levels of private and general life environment. This link is an effort to find identity and to have attachment feeling toward a place while our modern houses couldn’t have fulfilled the most primary needs of residence i.e. tranquility and physical relaxation and generally inspired quality expectations. In this regard, to reach the aim through qualitative approach and case study strategy, this value of the Iranian traditional housing was investigated.
This study was carried out by qualitative method and in order to final assess of the data, AHP method was used. The analytic hierarchy process (AHP) is a structural technique to organizing and analyzing complex decisions, based on mathematics and psychology. Rather than prescribing a «correct» decision, the AHP helps decision makers find one that best suits their goal and their understanding of the problem. It provides a comprehensive and rational framework for structuring a decision problem, for representing and quantifying its elements, for relating those elements to overall goals, and for evaluating alternative solutions. Therefore the method of collecting data was based on lists for interview techniques, observation, investigate the features of place and space, measuring attitudes and by searching the literature and documents and maps about the subject. So at first multiple systems of residential environment quality assessment were studied and then a model to assess the quality of housing for this paper was developed. In the second step through the main factors of the model, 5 criteria have been determined to assess the quality of housing.In the next stage parameters derived from the lists in relation to each criterion were analyzed compared to the data of other criteria and the overall impact of research factors in reciprocating reviews and alternatives obtained in relation to the main criteria have been introduced in traditional houses. Then by analyzing and interpreting of these alternatives and considering the effects of lifestyle, human needs and conditions of contemporary society strategies to improve the quality aspects of contemporary housing have been proposed. The term lifestyle can denote the interests, opinions and behavioral orientations of an individual, group, or culture. The term refers to a combination of determining intangible or tangible factors. Tangible factors relate specifically to demographic variables, i.e. an individual›s demographic profile, whereas intangible factors concern the psychological aspects of an individual such as personal values, preferences, and outlooks. Therefore, a lifestyle is a means of forming a sense of self and to create cultural symbols that resonate with personal identity. Not all aspects of a lifestyle are voluntary. Surrounding social and technical systems can constrain the lifestyle choices available to the individual and the symbols she/he is able to project to others and the self.According to the results of the research there is a significant relation between the quality of traditional houses, human, the architecture and the past lifestyle that emanates from traditions and original values. The evaluation showed that in order of importance the criteria of human needs, environmental, physical, functional and structural qualities have contributed in this meaningful relation and among them the first three criteria are more effective. Although in general comparison the coordinated presence of all proposed criteria resulted in lasting quality. Recognizing the traditional strategies and perception the Persian culture and life style can help modern architects to design suitable contemporary house design. People really need a house that response all its duties, not only merely be a shelter.Hence the main orientations for the development of housing in the qualitative aspects should be provided with development of long-term, medium-term and short-term goals. Providing desirable housing according to the physical and spiritual needs of Iranian families is one of long-term goals that must be met in the future.

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Diathesis is one of the fundamental concepts in Islamic-Iranian medicine which has a special place in traditional Persian medicine; because the general principles in diagnosis of treatment and keeping healthy are expressed on the basis of the study of diathesis. Considering the diathesis and the placement of it in traditional Persian medicine, we find that this knowledge is settled based on the study of diathesis. Iranian architects have attempted to use it practically since many years ago, as a model in their architectural works. Among the buildings which have conformed to the model of diathesis of design, it can be referred to the Iranian bathroom architecture. Paying attention to the importance of faith and ethics on the health of the body and making it as the ground work for the health of the soul, Iranian bathroom architecture, that the religious and moral principles are the source of it, designed as an old-fashioned sample along to the health of body and the soul and Traditional-Islamic medicine instructions. Therefore, the peace a person gets after taking a bath has a direct connection with the practical concepts hidden in Iranian bathroom architecture. Looking at the function and the place of bathrooms to keep healthy and to excrete some of diseases we find that principles and apparent and practical structure of bathrooms is planned on the human diathesis. This article sets this fundamental principle forth for discussion: Islamic-Iranian traditional medicine as a model expresses some facts in relation to the body health which has been artistically reflected in designing the architecture of Iranian bathrooms. Hence the authors have attempted to recognize the therapeutic aspects in the texts which are relevant to Islamic period medicine such as contemplations and opinions of Immaculates in Teb-ol Reza (Imam Reza’s medicine), physicians and philosophers such as Avicenna in Kanon (Law), Farabi in Siasat-e Madineh (Medina’s politics), Guilani in Kholasat-al Hekmat Nasseri, Jorjani in Zakhireh Kharazmshahi, Kermani in Resaleh Dallakiyyah, Khorasani in Kholasat-al Hekmat, and many great thinkers so that they can investigate how the abovementioned concepts would be reflected in the architecture of the bathroom. The key question of the current research is this: what characteristics does diathesis have in traditional architecture of Iranian bathrooms?
In order to answer this question, a case-study method as well as compositional (combinational) strategies has been used. And in order to collect the data required, the field-dependent and library methods were applied. Afterwards, 10 samples of the architecture of Iranian bathrooms were selected, which are of high-quality values and can be considered in expressing the concepts which stem from the study of diathesis. Regarding the regional diversity of Iran, it has been attempted to select at least one sample from each region. What the present research ultimately emphasizes is to pay attention to the effect of Islamic-Iranian medicine’s physicians’ opinions as well as the degrees of health in the framework of two approaches: washing-cleanliness and being therapeutic recognizable in the architecture of Iranian bathrooms. Washing and cleanliness are revealed by massaging, cleaning and cure by using the model of diathesis, and its reflection in a communicative-service atmosphere and hierarchy (gradual change) as well as making balance (dynamism) which produce compatibility, gradual change in our body, and ultimately produce balance in human nature as well as architecture, leading to developing health. As the human physical and mental balances are gradually lost, retrieving such a balance in human diathesis and ego takes place gradually. For the same reason, gradual rites of bathing are compatible with the resemblance of nature system as well as human nature with the structure of quadratic elements of human diathesis as well as bathroom skeletal parts. Such concepts are recognizable as the criteria of designing in the works analyzed. Its structure has been made based on 4 main diatheses: heat and coldness, dry and wet, which are compatible with the 4 seasons and quadratic mucus of body as well as human lifetime days. The bathroom has been made in a quartet form or with 4 parts (the first part is heat and dry, the second is cold and wet, the third is heat and wet, and the forth is heat and dry). The aim of such structural and content similarities is to develop an environment which would be compatible with human nature to maintain the diathesis balance and the enduring health of body and soul.    

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Islamic architecture in different territories has taken on various representations in harmony with natural and cultural contexts. Vernacular architecture of Bushehr Port is one the representations which encompasses features distinguished from those of other cities in the northern coastline of the Persian Gulf. Due to the special geographical position of this port and connection with other countries, one of the features is the existence of an element called “Shanashir" in the building facades, which has contributed to the interior-exterior architectural pattern of Bushehr Port, as well as privacy fulfilment.

Shanashir is generally known as a wooden element appended to the interior and exterior façade of the building. As a semi-open space, it provides a view from interior space to the exterior space of yard or urban space and is regarded as a modifying element of climatic conditions in hot and humid climate of Bushehr. This research used qualitative method and case study strategy with the aim of finding typology of this element, so as to find which types of Shanashir are important in the architecture of Bushehr Port in terms of form, what function this element serves, what types are predominant in this regard, what factors contribute in Shanashir placement, and what direction Shanashirs mostly have. In this regard, first the literature of the history of Shanashir was reviewed using library resources for data collection. Second, aiming at studying functions of Shanashir and its physical components, essential data were collected by reviewing library documents and field study. For field study, non-participatory observation was used so as to extract functions of this element by watching people’s living manner in Shanashir-included houses and behavior of Shanashir users. Moreover, oral interview with the users contributed to the scrutiny of the functions. Photography, sketch, and note taking were other tools used in this phase. Third, in order to approach the typology of Shanashir, written and visual resources regarding Bushehr buildings that have Shanashir were scrutinized and data were classified, and then all Shanashir-included buildings located in the historical texture of Bushehr were visited and the required information for the research was classified.

The historical texture of Bushehr covers an area of 4.5 hectare, which encompasses four historic neighborhoods. To approach the typology, it was needed to study the texture. One of the research limitations at this point is destruction of some buildings in the east coast of the historical texture of Bushehr during Pahlavi era because of construction and development of the Bushehr Port Organization, and that of other buildings with the construction of the north-south Street passing through the texture. These two parts probably had remarkable Shanashir-included monuments particularly in the eastern part of the texture, as apart from a few famous monuments the remaining were destructed and there is no information but few pictures with indistinctive location. In addition to the large-scale destructions, a number of buildings were demolished due to the lack of attention and timely restoration, and there is little information on them. Moreover, some owners did not allow us to enter their buildings in order to visit the interior Shanashirs, and some monuments were demolished to such an extent that it was impossible to collect date about the existing situation of Shanashir. In the Comprehensive Plan of the Old Texture of Bushehr, 1013 buildings are specified within the historic barrier. Based on this map, field study was initiated and every single building specified in the map was visited and photographed. According to the field study, out of 1013 buildings a number of 565 buildings were demolished and new buildings with different plans were replaced with historical plans. Moreover, a number of 86 buildings were dilapidated and impossible to be seen. Thus, a number of 362 buildings remained in the second phase were investigated more precisely, among which a number of 29 buildings had Shanashir.

Analysis of available Shanshir showed that 48 percent of Shanashir-included buildings are located in Koti Neighborhood, 42 percent in Behbahani Neighborhood, 7 percent in Shanbandi Neighborhood, and 3 percent in Dehdashti Neighborhood. Furthermore, 45 percent of exterior Shanashirs were seen in monuments adjacent to the seashore, and 24 percent of the remaining were near square, 17 percent near the plaza, and 14 percent were located in within-texture passages. The results of the analyzing Shanashirs placement in buildings indicated that two major types of Shanashir namely interior and exterior Shanshir exist in Bushehr vernacular architecture, which are classified into semi-open and closed classes based on the level of closeness. Closed Shanshir were used in few numbers and only in exterior façade. Form typology of exterior Shanashir can be classified into two main classes; linear and bi-directional (L-shaped) Shanashir. The latter can entail 90 degree or more angle or curve intersection. Interior Shanashirs can be classified into four main classes; unidirectional (linear), bi-directional (L-shaped), three-directional (U-shaped) and four-directional. Based on the place of Shanashir, inside or outside of buildings, some differences exist in their functions and components. This research shows that the dominant type of exterior Shanashir is semi-open unidirectional (linear) type and the dominant type of interior Shanashir is probably three-directional type. By studying the location of exterior Shanashirs, it is concluded that adjacency to the seashore or having a spatial opening to urban spaces such as a square or a plaza play an important role in the place of Shanashir establishment.

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Cultural disconnection and non – local Factors injection to the stracture of Islamic – Iranian cities in the recent decades refer to the absence of open progress, development pattern and a determined route. After the Islamic revolution in Iran, returning to the Islamic basics, caring about human dignity and relying on Iranian innovation and thought have attracted attention once again. The necessity of forming Islamic cultural and civilized works, is the presence of a perfect Islamic thought in all elements of framework, architecture, urbanism and structures which organized an urban society; in a way that the differences of its framework and its used meaning be clear and touchable either in communication symbol or in literal symbol with the other civilizations. It also illustrates a perfect living different from religious nature in the city. Prerequisite of this issue is, crating a coherent Islamic culture so gradually the effects of this culture will be appeared in exterior and surface relations.

 The determination of the plan of Iranian – Islamic development pattern by the supreme leader has made the religious life and the design of a unique Islamic culture tobe the agenda of the experts in various fields including city planning. in this end,the most important case is how to practice a Islamic culture management proportionate with that field as well as determining a practical model to practice the programs and the general policies of the dominant value stracture, in a way that to be able to provide a th eoretical as weii as operational pattern of the Iranian-Islamic city proportionate with the cultural engineering of the goals of the Islamic Revolution.This research is both fundamental(development of knowledge and basics) and practical(development of procedures and solutions). In this research,using a theoretical and operational technique along with a qualitative, descriptive and anaiytical approach and by a logical wyplanation based on the Qoran and the Innocent Imams Sayings as well as mental logic, an operational and contextual model of the practical basics of Islamic city is provided which a practical cultural approach explaning cultural connection and cultural engineering pattern dominant of Islamic citys structure and also the suggested pattern of Islamic city considering the cultural and value structure is being explancd. According to the explanations, the cultural-residential technique has been provided as the operational model of Islamic – cuitural approach relying on two basics of cultural engineering and cultural connection. This model is a cross – section of the practical basics of Islamic city in the level of cultural approaches whth a systemic identification which leads the two internal (approach basics)and external (approach structure) poles of the cultural layes of Islamic city to the formation of Islamic city through providing apractical and contextual solution.Finally, the operational modeling has been done based on the theoretical basics and the explanations provided by nthe centeral structure of the modern Islamic city with a the culyural – residential approach(cultural network structure) of the Islamic city.

Now the presenting model for creating a coherent religious culture is applying a cultural engineering structure and guideline with cultural connecting in different fields such as Islamic urbanism. In each field the style and method of creating cultural managing system should be appropriated with the specific language system of that field or model. In this study executive model of Islamic cultural system is determined with two basic roles; the cultural engineering and the cultural connecting in Islamic city.

In this study executive method of Islamic city’s cultural action and works are the designing process or meaningful and contextual solutions and works in designing. Meaningful and contextual solutions are the basis and infrastructure for the next used solutions. The appropriate meaningful solutions with the issue of Islamic city element with its systematic nature will define the identificational and basic aspects ( political, social, cultural and economical) in the layers of cultural solutions and finally with offering useful and useable solution and works in Islamic culture will define the framed system of Islamic city.

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In the history of architecture, since the architects sought to enter the light inside and as a result, its relationship with external conditions, the concept of transparency has been studied. Therefore, elements such as glass have been used to create transparency and entering the light. But because of lack of technical knowledge to achieve that goal, the less successes have been achieved. By the beginning of Modern architecture in the world, some new words come into the literature of architecture such as the theory of transparency in architecture. Actually transparency is an expression of the thoughts and ideals of Modern architecture in the shape of own self.
 On the other hand, deployment of transparency in the form of glassy architecture, created the base of criticism for its widespread use by critics of modernism. Colin Rowe and Robert Slutsky in the article “The Literal and the phenomenal transparency” presented an integral definition of transparency that could help Postmodern view about transparency. At the first, they classify the Literal transparency as the perceptual or spectacular one, and phenomenal transparency as the conceptual or readable one. Literal transparency actually refers to light permeability of materials and Interference indoor and outdoor spaces. A concept that could be considered as influenced by cubist painting techniques and aesthetics of Modern architecture.
The other statement of transparency, which is often used in the architecture of most of the world, is traction and appeal to create a sequence of spaces inside and outside the building. Which we can see the appearance of a perfect sample of it in Iranian architecture. In Iranian Islamic architecture that the valuable and exalted heritage of our ancients was the concepts of light and its different forms of that in wisdom, philosophy and art, not only before Islam but also after that.
The question is that how was transparency in Iranian Islamic architecture and what are conceptual differences between modern and postmodern architecture with Iranian Islamic architectural transparency. Transparency is among most important architectural issues that are rarely addressed. This importance is because of the comparison of some viewpoints about concept of transparency in the eras of Modern, Post-modern architecture and Iranian Islamic architecture to achieving principles of the formation of the concept and its types with aim to precise definition of structural concepts of objective and subjective.
The Article based on analyzing texts and collected data through librarian search and some documentaries. To narrow the scope of work, the evolution of transparency in the modern and post-modern movement. At first express types of transparency in modern architecture, postmodern and Iran›s Islamic architecture then study Comparative Comparison them and finally, explain and evaluate the transparency of Iran›s Islamic architecture.
This article expresses some kinds of transparency and divides it to Three Categories: Literal transparency, Phenomenal transparency and Semantic transparency and then analyses the philosophical and aesthetic based on architecture of modern, postmodern and Iranian Islamic architects. In this paper, we try to describe the features of transparency by considering of this parameter in modern architecture. After all, transparency in Iranian Islamic architecture is based on the concepts explained. With this method, the use of transparency in each of these eras has been explained and then used in a timeline, and finally examined the evolution of this application.
About achievement of this study to previous examples can be cited to this point what›s that Spatial transparency in the evolution of Iranian architecture introduced by Hadi Mirmiran, which means increased space and reduced material is on properties of Literal transparency more and based on the theory of modernism and is similar to Bruno Zevi,s view.
While results of this study, in addition to the above, in Iranian Islamic architecture, phenomenal transparency and semantic transparency are more and existence of major mental clarity (not objective). In the Iranian Islamic architecture and contrary to the last ones, we can give a hint, that the explanation of Iranian architecture with the modern architecture’s language instead of its Islamic and Iranian language is so wrong. Actually we ignore and connive at some parameters by this viewing. In fact, with dealing like visual material these concepts, a lot of deep cultural concepts in Islamic architecture will be ignored.
 

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Centralizing ethics in sustainability has led to an evolutionary process towards ethical approach as a holistic approach of sustainable development. This approach, deep in concept, has evolved sustainability and endures the most fundamental relations of human and environment. The most recent definition of ethical sustainability, describes this approach as a complex of human relations, including human relation with contemporaries, human relation with nature and human relation with future generation. Urban spaces, and particularly the plazas, are the grounds of social interactions which present living dynamism through the presence and activity of citizens. This space has been considered as a highly important urban landmark among citizens, and it could be said that residents of a city are usually aware of different city zonings on the basis of their city plazas. What people expect of a plaza is a public space with high diversity and eventful environment which allows the possibility of social interactions. With profound changes occurring in all aspects of current era, most of urban plazas have been affected by market forces. As the result, proper principles have not been applied in the formation of these spaces, which has led to a sharp reduction in the space efficiency and the presence and vitality of people in current urban areas. Therefore, these plazas would not be capable of creating human relationships as the main theme of ethical sustainable architecture. In order to analyze sustainable relations in the plazas of Iranian cities, it is necessary to compare a traditional case study of the Iranian urban plaza with a modern, more contemporary designed plaza of this land, on the basis of ethical sustainability. The aim of this research is to illustrate the triple sustainable relations, in the traditional, historical plaza of Naghsh Jahan in Isfahan, and the contemporary designed plaza of Imam Hossein in Tehran, based comparative analysis. The selected methodology of this research is comparative method. A comparative study is a comprehensive, multidimensional, and systematic process that seeks out differences and similarities in research. This kind of research will take generic patterns from the research environment and by emphasizing it on the differences between objects of research context, will help to seek a better understanding towards the main subject.  In this comparative study, both quantitative and qualitative techniques have been used, yet, qualitative approach is dominant, in which the researcher studies objects in their natural situations and tries to conceptualize or interpret phenomena in terms of the meaning that people give them. In fact this research emphasizes on the social nature of the facts and the importance of human values and relationships with nature, contemporaries and future generations in the research process.
In this research, common patterns of both plazas are driven out of the case studies and their discrepancy reveals the studied comparison in three steps. Related literature is reviewed in the first step, followed by detailed examination of Hanover Principles, as the first established sustainability principles which states ethics as one its main roots, on the basis of sustainable relations. In this step, Hanover Principles are categorized by their capability in realizing each of the trial sustainable relations. Finally, based on their related Hanover Principles, each ethical relation is analyzed separately in the case studies and the findings are compared through a visual diagram. This comparative analysis reveals higher attention on ethical sustainable priorities in the historical plaza of Naghsh Jahan in compare with the comparative plaza of Imam Hosein. Results show that in Imam Hussein Plaza, human relation with nature has been revealed only through plantation of trees in the margin of main plaza. However, in the Isfahan Plaza, the use of semi-open spaces, direct visual connection between the plaza and the sky, besides Suitable orientation, in order to benefit most from sunlight and wind, has played significant role in creating human-natured connections. Human relation with contemporaries in the Naqshe Jahan plaza has been considered in the edges of the plaza, which creates the confinement and separation between the main part of the plaza and the surrounding urban spaces. The use of natural elements in the space and the placement of stores around plaza, has offered comfort for the people who are enjoying the inner core of the plaza. This is while in Imam Hossein plaza, this relation has only been reached through the benches, which are designed and located randomly on the hard flooring of plaza’s inner core. Research results show that considering the use of local materials, use of water and plants in plaza’s inner core as natural resources, locating the functions around the field in accordance to natural lighting and reachability, besides field formation design in accordance to the orientation of sun and the dominant wind, and finally an adjustable design of the plaza for multi-purpose activities, are the priorities which can strongly affect human relationship with future generations. On this basis, it has been concluded in this research that this human relation is completely neglected in the plaza of Imam Hossein.

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Understanding Islamic architecture requires perception and receiving space, and the space of Islamic architecture contains meanings that can not be understood only by the senses. Space, as the most basic concept of architecture, is always conceived in a specific definite, which is received through sensory perception, so it has a certain limit, and finite. On the other hand, mosques are the most important building of the Islamic era, where Muslims gather together for prayer and contain symbols and meanings. Which must be discovered through rational perception and through revelation. In this way, the concept of space in Islamic architecture, especially the architecture of mosques, is a fundamental issue. understanding and obtaining the meaning of space is the result of the twofold confrontation between perception. In order to explain such a challenge, this article is devoted to explaining the finite and infinite of the spatial structure of Iranian mosques during the Safavid period. Therefore, this study uses a qualitative approach in the form of a case study with field observations and library documents to explain, analyze and obtain the structure of space in Safavid period mosques as one of the golden architectural periods of Iran. Imam Mosque of Isfahan, as an example of mosques with courtyard and porch, and Sheikh Lotfollah mosque, a case of mosques lacking these elements were selected from the Safavid era. The findings of this study indicate that space is received variously in Iran's architectures. So that, space, in terms of perceptual perception, is finite. This finite and the physicalization of space result from the perception of the bound via the five senses. In proportion to the small world, the object surround the space. From this perspective, in addition to focusing on dynamism, the bound contains centering, space breaks, plurality and multi-spacing. But beyond that, in Islamic architecture, there is a rational perception that leads to obtaining the meaning. In this perception, the bound does not constrain Iranian and Muslim people. The bound and space get together, space is unlimited and unlimited. The infinity of space in Islamic architecture is proportional to the great world. In this revelation, the Islamic space means the presence of one and the only divine. In fact, in the rational and intuitive perception, space is unit, discreet, eternal and infinite. But in sensory perception, space is finite, inward, small, and multiplicity.

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Today's Islamic Iranian city must be an appropriate place to meet the diverse needs of citizens where relations between citizens together, and with the natural and artificial environment around them is set based on the values and Monotheism teachings of the religion of Islam. In fact, it seems that the ultimate goal of the Islamic Iranian city as a habitat is to pave the way of man towards the divine grace. In the ancient Islamic Iranian city, public spaces have always been a place for the crystallizing the unity of the Islamic Ummah, holding communal religious practices, trading, establishing social interactions, and communicating with the natural environment. Defined public spaces, lively, flexible, thriving, environmentally friendly and with a special meaning, this study refers to them as place, and their creation defines the Islamic Ummah, not merely the accumulation of human beings. The places that need for them in today's Islamic Iranian cities are felt more than ever. Certainly an excellent example of such spaces in the past Islamic Iranian cities has been the space and the courtyard of historical mosques. In fact, the mosques were on the one hand a venue for worship, and on the other hand, the place that organized the social life of the neighborhoods inhabitants and resolved the affairs of the people. Mosques have always played a role in various fields such as strengthening social cohesion, promoting public participation, increasing social security, building functional diversity and enhancing the sense of belonging. Leading the city's path into the courtyard of mosques turned these spaces into urban public spaces. The presence of such spaces in the fabric of cities and urban neighborhoods brings a vitality and social life to the Islamic cities. Therefore, this research seeks to identify the effective factors to make and develop places in the Islamic Iranian cities through the analysis of the physical, semantic and functional characteristics of mosques as the most excellent example of public place in the Islamic Iranian cities. In this regard, two historical mosques in the city of Shiraz (Atiq and Nasir al-Mulk Mosques), which have unique semantic physical characteristics, have been selected as a case study. Atiq Jame' Mosque, as the oldest mosque in Shiraz, has always played a central and pivotal role in the religious, historical, cultural, social and political structure of Shiraz city and with many general and historical areas of Shiraz, such as the bazaar, historical neighborhoods, Shah Cheragh, Now Mosque (the New Mosque), and the city entrance gate have a spatial-physical continuity. The sixth entrance of the mosque, located on the different sides, is a testimony to the unique prosperity and performance of the mosque in the past as a throbbing heart in the old Shiraz fabric, a communication space and a place for gathering and establishing social relations between citizens. On the other hand, many studies refer to the present position of the Nasir al-Mulk historical mosque as a space for communication and social interaction of citizens, a place with unique physical, social, and perceptual characteristics to induce a sense of belonging to citizens and with influential physical attributes to strengthen the sense of spirituality and the imposition of semantic load to the citizens. These signs point to the contemporary role of the courtyard of the mosque as an urban space. Also, the present study uses a descriptive-analytic research method in the field of theoretical framework analysis; and the causal-comparative research method and content analysis and review methods of video documentation and interviews with experts and the Analytic network process (ANP) for ranking the rules and analyzing case examples. Formation of network structure, formation of comparative matrices and compatibility control, binary comparison of the main criteria, binary comparison of internal dependencies of the main criteria, binary comparison of the sub-criteria of each main criteria, the binary comparison of the sub-criteria of internal dependencies, the calculation of the final weight of the sub-criteria, the binary comparison of the preferred options and the choice of the optimal option are the main steps of the network analysis process. The statistical population of this research in interviewing and completing the process of hierarchical analysis was architecture and urban planners of the universities of Iran that among them, based on the snowball sampling method, 25 people with urban and architectural specialties were selected as the sample group of the statistical population. The results of this research show that form component (with indicators: attractive elements of attention, orientation and perception capability through different senses), activity component (with indicators: behavior, body language, and culture sociality), meaning and imagination component (with indicators: memorable, spirituality, Meanings and values and emotion), and ecosystem component (with indicators: tree and plant, water, natural light, and coherence with the climate), affect the formation of the place in the Islamic Iranian city. Also, in this research, along with analysis of case studies, strategies and policies have been presented to make place in the Islamic Iranian city, based on the developed components and key criteria.    

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Buttresses has been used as a support structure in the field of architecture. This under pressure structure prevents from thrust force advancement and creates resistance and stability of main structure against any horizontal movement. Study references related to architectural structures makes it clear that little researches is dedicated to support structures, particularly buttress in Iran and is not provided the answer to this question: By what measures can investigated types of buttress and what are these types. Meanwhile, raised the issue of the buttress in the area of specialized restoration as a way of treatment, it is needed to urgent research conducted in this regard. The purpose of this study is understanding buttress in Iran. Therefore, relying on library studies then field research and surveying of 100 available samples, discovering and typology of buttresses of Persian architecture was intended. The main outcome of this study was to identify buttress species based on measures of form, position of buttress in plan, materials and construction time. The study of the typology of the studied samples showed that any combination of solid rectangular plan and combined sections (rectangle and triangle) types, are the most practical buttress of the 100 participants of this research. Ease of construct and play the best structural role of the buttress can be reasons of   using by architectures that has been based on their empirical knowledge. The buttresses have openings such as the type of a floor with the port covering of circular arch type; have allocated the most acceptances from the architects. An achievement that offers this research, are scientific solutions for restorers and architects to design the buttress species in restored historic buildings.