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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Natural light has been an important element in Iranian architecture and shaping the interior spaces of monuments. During different historical periods, the presence of light in various Architectural works, In addition to the functional aspect, has always been under focus from spiritual religious aspects. The incentive to turn to the light during worshiping God has existed in different religions and still exists. Daylight had have a special place and value in Islam and the Islamic worldview. With the emerge of Islam, usage and application of light in architecture increased especially in mosques as the most important monuments of Islamic architecture In mosques, daylight in addition to functional aspect is considered as a mystical symbol and a sign of God's presence that raises the human sense of reverence and humility in front of God. To this end, for centuries, Iranian architectures have been trying to use traditional architectural elements and daylighting solutions to better deploy the natural light in their designs. This study attempts to investigate and evaluate the application of light-catching elements in Iranian mosques, particularly in mosques and mosque–schools from Qajar period. We use a descriptive and analytical research method and our study is mainly on the basis of resources and the literature available in Iranian libraries. After describing the theoretical foundations of our research, we analyze a number of common light-catching elements in selected mosques. Although a multitude number of studies have been done on the concepts of light and its role and function in the traditional architectural monuments, particularly mosques and homes, little study has been done on light-catching elements in mosques of a specific period as done in this research. Structural elements which have been used in Iranian traditional architecture for utilizing daylight are studied from two directions. In the first direction, light-catching elements often have the task of transmitting light into the interior space. In the second direction, light controlling elements adjust the entered light into the building (similar to canopies). The subject of this research is in line with the first direction. We only study light-catching elements and we chose among them common elements such as door and window, Shabak, Horno, Rozan and Roshandan. Although these elements are different in term of material, type and location of application in the building, all of them are used for light-catching even though some of them have also ventilation application. We chose 10 mosques and mosque-schools of Qajar period in Tehran. The examined mosques and mosque-schools in this research were selected based on the following criteria: first, all the selected mosques and mosque-schools are located in old and valuable region of the city and they are tourists attraction. They have architectural values and are well-known among people and experts. Secondly, the building of selected samples reflect prominent features of Qajar’s architecture. Also the sufficient information (including maps and images) are available for these monuments. We chose 5 mosques and 5 mosque-schools among Qajar’s architectural works. Then, the usage and the application rate of light-catching elements in these buildings are evaluated quantitatively and qualitatively by the use of maps and the available visual data. Quantitative analysis is based on the approximate numbers of elements used in these mosques which have been extracted from the available images and maps. To qualitatively evaluate the application rate of various methods of light-catching in these mosques, we specify four levels of usage: "insignificant","low","medium" and "high". We provide the results of quantitative as well as qualitative analysis in this paper. Our analytical studies indicate that although door and window, Shabak, Horno, Rozan and Roshandan had been considered as innovative lighting elements inside mosques of Qajar period, architectures of this period still mainly utilized door and windows as the main lighting elements. Next to doors and windows, Rozan stands at the second place, Horno in the third place, and then Shabak and Roshandan. The utilization rate of doors and windows among considered mosques and mosque–schools has been similar. Nevertheless, the usage of Horno as a lighting element in mosques has been more than mosque–schools, Rozan and Shabak have been used more in mosque –schools rather than mosques. Roshandan has been barely used in the mosque-schools, and only few samples could be found within some mosques of this period.

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Today, there are a few dozens of historical index houses in the city Sabzevar. Reviews show that up until now, despite the presence of their special characteristics, variety and role, there have not been comprehensive studies about them but through the presence of valuable samples from various historical periods (Teymouri, Safavid, Qajar, Pahlavi), their exposure to destruction through changing the method of living, multiplicity of owners, migration and generally loss of attractions for today's life, reviewing these houses is necessary. Since most of the historical houses in Sabzevar are from the Qajar period, the purpose of this article is to read and recognize Qajari houses. The used research method is combined and the results obtained from the study show that Sabzevar's houses, with architectural specifications such as semi-hot and arid climate, have mostly been made as introvert houses and they can be divided to three types of the first, second and third period based on the features of architectural space, structure and decorations. Discussion of architectural typology has been proposed in some of the European countries since the late 11^th century. At first, this topic was treated in a very clichéd way and they reviewed categorization of buildings based on a mutual feature. Another one of methods of categorization at this time was dividing the buildings with mutual feature of their map. This method has many advantages, but unfortunately, by being drawn in one way of thinking, being caught up in a deterministic framework and linking historical process with deterministic materialistic views, they came to conclusion and the result of it is predetermined by considering the mentioned framework whereas in a study, in addition to the overall review, the results shall be obtained after the study and research.

Accurate identification and classification of various architectural types can be useful in understanding the space better, protecting it and also in achieving new methods of designing.

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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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Applying wind energy in Sistan region has been taken into consideration during different historical periods, especially during Qajar period. Varmal castle settlement which is located in Varmal village-environs of Hamoun County-is a Qajar period structure that has used wind power for various applications that resulted in a unique design and architecture. Applying wind power wisely for cooling, natural air conditioning, windmills and other related purposes are among the most important distinguishing features of the design and architecture of the central part of this castle.

The central part of Varmal castle settlement has an irregular plan. Because of the castle’s historical importance and the castle settlement of Varmal, various historical sources have described it. Varmal castle settlement is one of the main Qajar period castles in Sistan area that, in terms of general structure, has been made of three parts including the central part which is the main part of the castle. The wind energy has been used well in this part, and adapting the architecture with the wind is applied on this part. The second part of the castle is located to the north and northwest of the castle and includes a number of buildings with various applications. It has two yards that, regarding the separate space of one of the yards and the architecture of its surrounding appears to be used for particular ceremonies. The third part is located to the south and southwest of the castle and includes buildings and yards. Regarding the good condition of the structures, it seems to be made more recently than other parts.

Based on precious experiences of Sistani people about using the wind energy, undoubtedly there are buildings in the ancient architecture of the region that, as an experienced model, can be combined with modern technology to provide progress in the application of ancient findings. The Wind of 120 Days, the Qous wind, the seventh or the bull-killer wind and Panjak wind are the most important winds of Sistan region among which the Wind of 120 Days is the most famous and the dominant wind which blows from early June to late September (4 months, about 120 days).

Considering “The Wind of 120 Days” in Sistan region that blows with various speeds, the main question of the present research was to match the architecture of this castle with this wind. Therefore, the research question was: how is the design and structure of the central part of Varmal castle settlement matched with the speed and pressure of “The Wind of 120 Days” in Sistan to benefit from various applications of wind energy?

Today, various tools have been applied for simulating scientific plans in different sciences that are quite profiting. One such technique is simulation with Computational Fluid Dynamics (CFD) that has provided researchers with many capabilities.

Global experiences indicate that, during recent decade conducting CFD scientific-computational activities in ancient sites have increased due to the progress of software and hardware systems. Such research in archeology is still in its early stages in Iran. Thus, the aim of the present research was to investigate the status of the design and architecture of the central part of Varmal castle settlement with the direction, speed and pressure of Sistan’s Wind of 120 Days, using CFD simulation methods. This research has adopted a descriptive-analytical methodology based on documents and library resources and field studies. In order to be matched with Qajar period, 52-year meteorological data were collected, and available architectural data of the years 2014 and 2015 were also gathered. The architecture mass was designed using Revit software, and UrbaWind-Meteodyn software was used for preparation. Using Ansys Fluent software, CFD was run for simulation in the buildings of the central part of Varmal castle settlements. The results of simulation outputs with various speeds and pressures (3, 6 and 15 m/s) and maximum 120 km/h from the earth’s surface up to 2 times the altitude in the above castle show that: the design and architecture of central part of Varmal castle settlement matches well with the speed and pressure of “The Wind of 120 Day” toward north and northwest in such a way that as a natural air conditioner, the central yard’s space causes tangible reduction in the speed and pressure of the wind in internal spaces, and principled design which suited the climate and architectural schemes during Qajar period has prevented from damage to the architecture of the central part of Varmal castle settlement when the wind blew with high speed.

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

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

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Since man has been engaged in architecture, he has paid attention to the spiritual , inner needs and aesthetics sense too. Today, in architecture, aesthetics is limited to formal secondary factors due to lack of the systematic and applied explanation, while this concept has a more definition and is closely related to structure, details of construction, audience and environment. Iranian architecture that has manifested aesthetics over many years age, has been a rich source for adapting the principles of aesthetics in architecture. Quantitative and qualitative foundations in traditional architecture, which are related to the aesthetics and visual principles set on structure and proportions, lead to aesthetics appearance. Accordingly This research tries to answer the question: how are aesthetics principles engaged in Iranian architecture in order to utilizing them in contemporary architecture.
The analysis of the houses was carried out in Mashhad because of its historical background, which was a rich source of architectural works. In this research, current findings of different schools and philosophers viewpoints about aesthetics were collected next analyzed and Interpreted with content analysis method which they formed the criteria of analysis. Using the documentations, 10 types of Mashhad historical houses were analyzed with aesthetics factors, all of them were belonged to Qajar period. In this analysis, according to architectural changes affected from historical conditions (Qajar period), the spatial & structural principles of the houses belonged to the first period and the beginning of the second period were conformed with aesthetics criteria. While the houses belonged to second Qajar period, they included elements as sloping roofs, and issues like: having less application of the symmetry and proportionality in the plan & façade, and more extravagance, which is a conception of Western architecture and doesn’t fit to regional culture and climate.
 

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The major change processes that have taken place in recent centuries, affect the facade and its elements. These changes have caused variations in the visual appearance of buildings. However, throughout the history of the late Qajar dynasty and the early years of the Pahlavi reign, different architectural styles have been developed and they were evolving as societies changed over the centuries. In the history of Iranian architecture, there has never been a break with the history of architecture. But in the last century, the alien elements entered into the Iranian-Islamic architecture and there has been a change in the principles of architecture. In the late Qajar period, the process has been discontinued and the structure of the façades as well as other architectural features were being modified. At the beginning of the Qajar era, the presence of Western symbols was also important in the facades. External factors contribute towards the indigenous architecture of a region to a great extent. Extracting patterns from different Islamic periods can be used in modern architecture. After the glorious era of Safavid architecture, the Qajar period is the interface between the past and the future architecture. The nature of the exodus of traditional Iranian architecture during this period were undoubtedly influenced by the Constitutional Movement. However, the dynamics of the modernization in the Pahlavi era brought about changes in Iranian society. This study seeks to compare the views of different eras in accordance with the principles of Islamic architecture. The methodological approach of the research is mixed (quantitative and qualitative). The study is based on an interpretative-historical research strategy using library information resources, field observations, and questionnaire survey data. In this regard, the study of architectural styles and practices of each period, the quantitative comparison of the fundamental characteristics and indicators of Islamic architecture in urban façades, and functional units in different categories are discussed. Depending on the theoretical framework of the current research, seven indicators of Islamic architecture were obtained. These indicators include geometry, proportion, symmetry, harmony, dynamics, order and rhythm, and unity in plurality. In the next step, three different buildings were chosen and made subject to a systematic inquiry. 42 students and 9 faculty members of architecture and planning were selected to study the characteristics of each building. After the pilot work was completed, the questionnaire was distributed to the respondents. Finally, the important attributes were determined in each building. Based on the findings, it is suggested that the change of architecture can be interpreted according to the intellectual architecture of its era. Therfore, only a physical change could not ultimately lead to a structural change in style.

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The use of proportions has always been considered in traditional Iranian architecture, and especially after Islam, because of the creation of an architecture that is far from Individual Interests and the impact that has on the quality of  building conceptual understanding. The purpose of the present study is to examine the proportions in the courtyards of the historical houses of Behbahan city and to express their characteristics in order to provide a true picture of the proportions governing them and to provide a starting point for future research in the field of proportions. According to the studies that have been done so far, the architecture of major buildings and even the architecture of famous cities such as Kashan, Yazd, Isfahan and Shiraz have been used in some way, However, there has been no research on the use of proportions in the traditional architecture of smaller cities. However, examining the suitability of buildings in each area over different time periods can help to complement the architectural information of traditional buildings. And finally, by completing the information, check that the proportions used are the same or different in different regions. And basically what are the reasons of their differences and similarities. That represents a new window into Iranian architecture. The first step in achieving this is to examine the proportions in different areas. The city of Behbahan is no exception, due to its several thousand years history and its role in all historical periods. In addition, Behbahan was once a major commercial city and dock (base) of Khuzestan, Pars and port cities. And its historical texture has more than 40 neighborhoods, with many valuable buildings in terms of architecture. However, less research has been conducted about the architecture and features of traditional houses in Behbahan. And, except in books such as the Book of "Identity of Behbahan", and some travel logs and memories such as " Travelogue of  south iran ", it has not been done in detail as a comprehensive study. Hence the choice for this research. But due to the wars and wreaks that took place in the Khuzestan region, and also the warm weather conditions of the region, and also the lack of attention of organizations, landowners, unfortunately, today few of these historic houses remain, that  most of which belong to The Qajar and the first Pahlavi era. It is necessary to check the proportion in different buildings But since the house is considered as an essential part of any period building and the courtyard has always played a central role in the structure of traditional homes, This research tries to study the proportions in the courtyard of Behbahan houses. In order to answer the main question of this research, "Which of the proportions has been used in the traditional architecture of Iran in the courtyards of Behbahan houses?" 

To answer the above question, a descriptive - analytic method has been used in this research. Today there are many houses in the historical context of Behbahan that Mostly remained from the Qajar and Pahlavi periods. There were 31 homes available for researchers based on documents available,that 10 were selected.On the condition that in choice of samples for each period, criteria such as appropriate historical value, specific construction period, healthy architectural framework, and no interference, have been taken into consideration. Of these, 8 are listed on the National Heritage List. Firstly, using library studies tools, different types of architectural ratios and architecture of Behbahan houses are studied. Then, by gathering documents and using field studies and the direct presence of researchers in the houses, their general characteristics, including the period of construction, the neighborhood and the components of the houses, were extracted, Finally, the dimensions required for analysis were extracted from maps using AutoCAD software and based on the graphical scale size of the maps. In the last step, using descriptive-analytical method by Excel software and in some cases by geometric analysis, the data is analyzed based on architectural proportions. The results show that, Among the existing proportions used in the Behbahanchr('39')s courtyards in both Qajar and Pahlavi periods, most of them follow the Iranian gold and square geometry, and the 1.618 golden ratios are less of a concern for architects. In general, the use of √2 and √1.25 ratios is more commonly used in construction and measurement because of its proximity to square form and its simplicity and speed. Some homes may also had been fitted to a part of facade that is more important than other parts or has symmetry such as a porch or three-door and five-door rooms, This confirms the importance and application of proportions in the main spaces of traditional homes. In addition in some aspects, the combination of two proportions is used side by side. 

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Qazvin one of the main city in Safavid Era. This city is a capital of Iran in these era. Many of buildings in Qazvin at capital period was built the reign of Shah Tahmasp. At now these buildings and complex were destroyed and only a few evidence of them remain. Some of these demolitions have been so great that at least the existing signs of building and complex have been lost and their names can be seen only in historical texts and documents. One of these safavid Era elements in Qazvin which has been destroyed, is the main square of the city. The square in the capitals of the Safavid Era, was one of the important elements of government and in addition physical aspect, it was remarkable functional point of that. Past Studies of the Safavid city of Qazvin have attempted to depict the atmosphere of the royal city, especially during the era of greatness, although there are some differences in their final results. In some of these studies, the main square of safavid city is Sa’adat square (Meidān-e Saādat or Senke Maidan), which is mentioned simultaneously with the Meidān-i Asb-i Shāhī (Atmeidan). Sa’adat square is the subject of this article. There is no detailed study or paper about Sa’adat square independently with analyzing all the evidence. This square is often mentioned during the study of the safavid city of Qazvin. As a result studying and identify the historical evolution of the square highlighted the need for a more detailed study about that. The physical condition of this square, as well as located and how it relates to the Meidān-i Asb-i Shāhī, has formed the general structure of this research. This study, tries to provide a show of the situation of Sa’adat square by examining and analyzing historical documents, physical evidence and especially existing historical descriptions. In addition to these studies, field surveys have also been considered and physical evidences around the market (Bazar) and the square area have been studied. In addition to addressing the physical and functional condition of the square in the Safavid era, the historical evolution of the square in the Qajar and Pahlavi eras has been reviewed. The interaction and relationship between the main square of Safavid Qazvin with other key elements of the city and the area of Qazvin Bazaar and its elements have been studied. According to the results, Sa’adat square is a public urban square, along with the bazaar and other key elements, has also been a place of representation of the Shah's policies and meetings. The location of this square, although presented with two possibilities, seems to be more filled later by Qazvin Bazaar and its constructions. It should be noted that an accurate and definite understanding of the location, dimensions, shape and characteristics of the square requires field studies and especially archaeological excavation that must be considered.

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Observance of moderation is one of the characteristics of Godchr('39')s creation. If a person claims to be the caliph of God, he should be characterized by divine attributes to the best of his ability, and human constructions, of which architecture is a part, should have this characteristic. In this study, to answer the question of how the relationship between moderation in the architecture of mosques by creating a sense of the presence of the heart in this space, by descriptive-analytical method, in the first step, the concept of Islam of moderation was introduced and intimacy was introduced as a criterion of moderation. How to attain the position of nearness to God was examined. In the next step, by examining the presence of the heart as one of the factors of proximity, a semi-structured interview in this regard, around the three systems that make up the place, namely the physical-spatial system, collective-behavioral system and perceptual-perceptual system, in three selected mosques Mosques of Tehran Bazaar area (Sepahsalar Mosque, Imam Mosque and Tehran Grand Bazaar Mosque). all three mosques had relatively the same conditions in terms of age, location, physical characteristics and community of clients. Then, by analyzing the content of the interviews, a questionnaire was developed for the reliability of the research from the extracted categories and tested in the wider statistical community in the mentioned mosques. Finally, the questionnaires were examined by SPSS 26 software and LISREL and a combination of two-sample T-test and confirmatory factor analysis. The results show that the environment of these mosques, in general, has a favorable effect on the presence of the heart in people, and in the meantime, Physical-spatial characteristics in the environment of the tested mosques, among all environmental systems, have the least positive effect on creating a sense of presence of the heart; The collective-behavioral characteristics are in the second place in this respect and the perceptual-receiving characteristics of the mosques under study have the most positive effect on the presence of heart in individuals. and accordingly, any of the environmental systems can be approached Imagined in moderation. Regarding each of the measures of the structure of environmental systems, the "elements in the space of mosques" under study can be considered as the most effective measure of the physical-spatial system in creating a sense of the presence of the heart; "How people act and how they relate to each other" in the mosques under study is the most effective measure of collective-behavioral system in creating the presence of the heart and "sense of belonging due to familiarity with the building blocks" is the most effective measure of perceptual system The heart is examined in the space of mosques.

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The period spanning middle of Qajar era to the first decade of Pahlavi is a part of Iran contemporary architecture which is influenced by inevitable alterations caused by modernity. Modern forms and figures have gradually changed spatial hierarchy of houses and their structure and consequently have led to a combinational style. A brief survey of spaces and chief elements of traditional houses of Sanandaj demonstrates these changes quite well. This paper tries to shed light on the prevalent style of spatial hierarchy of house entrances in transitional time period from tradition to modernity in Sanandaj. This research has been conducted using a theoretical approach and by a historical-interpretational method. In theoretical part, a qualitative approach is adopted and considering the literature history, effective factors on spatial quality evaluations are analyzed. The practical part of the research is carried out in two phases and by taking case studies under account. In this viewpoint, the theoretical part is firstly a brief appraisal of the architecture of the historical eras of Qajar and Pahlavi, evolution criteria and social revolutions of those periods as well. Moreover, assessment of houses based on historical periods has been done utilizing field studies, local survey, photography, house plan depicting and existing documents and plots. Secondly, based on acquired field and librarian information, all qualified houses for this research are compared and analyzed to attain a comprehensive understanding of their entrance spatial hierarchy. Findings of the research indicate that there has been a hierarchy in entrance of houses with traditional architecture pertinent to the needs of residents which is neglected to some extent by the designers in Pahlavi period. In conclusion it is admitted that by intermediate spaces, alongside the provision of confidentiality, it would be possible to achieve a proper definition of private and semi-private spaces in houses. Furthermore, disruption in functions and entities of other spaces could be avoided, which in turn leads to introducing a pattern for obtaining confidentiality; an inseparable principle of entity in Iranian architecture and culture.

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