JOURNAL OF ARCHITECTURE STUDIES
Year:2015 | Volume:- | Issue:6|Papers Count:9

The present paper intends to answer the ambiguities which are proposed about the form originality of Tabriz Blue Mosque. The reasons for uncertainties about the form originality and the architectural method of this building are related to its planning method and special volumetric composition that have led it to be distinguished from other architectural types of mosques in Iran, in a way that, from the viewpoint of form pedigree no similar building can be found before or after it that indicates the logical sequence of a special architectural experience. So, in the architectural background of Iranian mosque, the idea used in architectural creation of Tabriz Blue Mosque is such a single star that shone only once and disappeared. Based on what is mentioned, the present paper intends to answer the following questions: A) In which country’s architectural culture the architectural identity of Tabriz Blue Mosque is rooted? B) If the volumetric composition of this building is retrieved from the imported architectural patterns, why does its image manifest Iranian architectural elements? C) How and to what extent the final development of this architectural monument is influenced by cultural atmosphere of the Tabriz of ninth century? From the viewpoint of nature and content of discussion, this paper has been written in a descriptive-analytical method and in the stage of comparative study with other architectural models, the deductive method of investigation is also utilized. It can be inferred that although the Blue Mosque building belongs to some Ottoman architectural monuments from the form point of view, the Iranian architects constructing it who were artists from the territory using Azeri method of Iranian architecture, by applying their indigenous thought and traditional techniques, intermingle the imported architectural form of this mosque with Iranian architectural culture in a way that the final product becomes a part of Iranian architectural discourse.

The historic background of residential areas show that territorial behavior is respectful for inhabitants, designers and architects, and it is considered as something necessary for living. what we are going to explore here is levels of territorial behavior which are called Understanding Territories and their distinguishing featureis illegal ownership of the clients. The territories play a pivotal role in forming the organic physical structures of historic textures and can be classified at four levels: the territory impacted by place inhabitant, the territory influenced by accessibility system, the neighboring territory and the territory impacted by ritual system. Research method, in this paper, is qualitative and the case study is to create Talarpish (Balcony)in historic city of Maosuleh; It is tried to analyse the issues according to physical and social structures of the city. The results indicated general satisfaction, neighborhood satisfaction, respect to access routes and ritual system of Alambaranis examples which has been respected by Talarpish (Balcony) applicant in masouleh. Understanding territories in collective mentality of Iranian has historically been Sustainable and can with their mechanism updating be used in the management of historical places.

Dust particles have triggered a precarious condition in the southwestern regions in Iran. It brings about an unstable air-breathing health situation for the local residents. Therefore, an immediate collaboration is necessary among a variety of experts in different fields including the environment, health environment, geology, physical geography, chemistry of air pollution, fluid mechanics, meteorology, environmental design, and natural resources, etc.; Meanwhile, it is obvious that the problem cannot be resolved by a single specialist. From among these professionals, it is worth mentioning that the architects can participate effectively to tackle this problem with their appropriate efforts. In this regard, architects as comprehensive designers and beneficiaries of the results of the above mentioned specialties are needed to coordinate and bring together all efforts to help developing an opposite environment in which residential space conditions are facilitated. In this study, the researcher tries to find the appropriate way for the building orientation and its openings in order to provide an instruction for the architectural design as an initial step in designing the buildings against dust particles. At first, appropriate case studies were indicated and located among the buildings in Dezful urban areas. Then, it continued to find an appropriate method to determine different aspects of this problem, in a way that the capability of analyses and comparisons can be offered in different circumstances. After that, collecting long-term data (dust particles measurements from four sides of buildings and meteorological data) has been studied in relation to various buildings. Then, the result has been surveyed according to the analysis of data collection and discussion. Finally, the side of the building where it absorbs most of the dust and the side of the building where the most of the suspended dust particles are hold in the air were allocated (95% of the data collection includes these conditions) according to the direction of wind. Thus, with the identification of the prevailing wind in each region, the generalizability of the theory in this study can be achieved.

Khaniqah in the history of Iran, especially in pre-Safavid era, was among the most frequent building types. Nevertheless what we know about its architecture is almost nothing. Identifying the khaniqah architecture requires a vast multi-disciplinary research, which would cover all of the Islamic lands through all of the periods of their histories, based on the most related Arabic, Persian, and Turkish primary sources and also the all remained relics of Sufi and religious architecture. This research is about the Khaniqah architecture in its formation phase, in the first Islamic centuries in its birthplace Khurasan (in Rob’e-i Nishapur). Since the second (AH)/ eighth (AD) century, Sufis gradually inhabited in buildings other than mosques. It was about the fifth (AH)/ eleventh (AD) century that a certain building type dedicated to Sufis was called “khaniqah”. The khaniqah’s content, or its organization, was established by the fifth century Sufi saint Abu-Saeid Abul-Khayr in Khurasan. This organization had some basic elements: from human elements to ritual and ethics. Khaniqah contained various functions: from public functions, such as preaching sessions, to private ones, such as isolation for worship and Sufis ceremonial dance (sama’). As the khaniqah organization, khaniqah building had a variety of open, semi-open, and closed spaces. The open spaces − court and roof − was dedicated to the public functions; the closed spaces − gathering hall (jama’t-khana), cells (hujras), and the sheikh’s cell (sawma’a) – to the private functions. The semi-open spaces – iwan (suffa) and arcade (riwaq) – were used for semi-private or semi-public functions. The gathering hall, as required by its functions, was a domed hall. The court was located in the center of khaniqah with an iwan in one side (usualy opposite to the court entrance). The gathering hall had access to the court, directly or through the iwan. The cells were located around the court (in its four, three, or two sides) and the entrance was in the middle of one side.

Dagh-Baghi is a disregarded garden located in Khoy, a city in the northwest of Iran. Because of its location along with good weather, Khoy has always had great potential to host many gardens. This garden, however, is the only remaining historic garden. The current Dagh Baghi is a meadow in the southern suburb of the city with a few fruit trees. This article studies the spatial structure of the garden and scrutinizes its current conditions as well as archived evidences in order to find the garden's original layout and specification. To achieve the goal, the study will focus on documents as well as study and survey the garden’s remains. Comparing the documents with the result of fieldwork research will clarify the garden's layout and its historic evolution. The garden was found by Amir Ahmad Khan-e Donboli, the commander of Khoy and Salmas in Zand dynasty. The obtained spatial structure reveals a designed terrace garden on a slopping land on a foothill which includes an avenue (Khiyaban) between entrance and a pavilion located at the end of the garden, on the highest terrace. The layout of the garden has been formed by six lawn covered terraces with some fruit trees. Two rows of plane trees define an avenue between a likely entrance hall and the highest terrace which has contained a mansion and a pool in front of it. The terraces have a line of plane trees on the edge and spring’s water flows down from the foothill into the main pool and run through a canal in the middle of the avenue. Except the water canal, the avenue has two pass ways beside the canal which connect the terraces by rows of nine stairs.

After decline and fall of the Parthian dynasty by Ardeshir Babakan in early third century, the new dynasty, called Sasanian, rose. The quantity of the remained of the Sasanian dynasty in compare with the Parthian shows that construction activities such as building bridges, dams, castles and cities are considerably developed. Establishment of many Persian ancient cities is attributed to the first two Sasanian kings, Ardeshir and Shapour. Most of these cities are constructed on a band which is spread between the Persian Gulf and Zagros mountains. This band connects the Strait of Hormoz to Mesopotamia and finally to Ctesiphon. The city of Bishapour is constructed by Shapour’s order in a location where the Zagros Mountains have the minimum distance from the Persian Gulf. This research is about the urban geometry of Bishapour as a milestone in the history of Persian urban design that is based on field works and library studies. The cultural and governmental evolution from Parthian to Sasanian dynasty, such as tend to concentration, is assessable in the changes of the urban constructing methods. Shahre-Gour and Bishapour are indicators of the new cities which were designed on base of the point of view of the Sasanian ancestors. Shahre-Gour presents the symbol of an urban design approaching to power and Bishpour indicates the period of settlement and stability, with similar attitude. One of the urban research methods for these cases is to study and analyze their main geometry and the relationship between the natural topography and their urban design is the most important. Bishapour is a symbol of benefit of natural features besides the regular geometry. The employment of perpendicular axes had been the principle concept of Bishapour. The other important employed rules in urban design of Bishapour are symmetry and concentration to a point which are benefited in various scales.

Unfortunately we have been moaning for more than three decades, scince the loss of the Islamic Art and Architecture’s Identity, and continueously complaining about its missing valuable & Holiness of fine and magnificente values. And, we have made a true effort in searching for it, knocked on every door and tried all unknown places for its humbly requesting. Even, some of our faithful companions to that magnificente era, haven’t set aside and unskillfully have been trieing to take out some of the past architectural corpse from their graves, and using them & their charactristics as the best examples and patterns of their time. And, not only they’re not ashamed of their unfine act, but also urging others in following their steps. The bitterness of my speech should not bring this thought to mind that “he is an advocate of the loose architecture of the present Islamic Iran”. But, I’m implying to say: although we’ve been talking a lot about the lost Identity of the Islamic Art and Architecture and of our own, but as a symbolic qoranic-saying of Haj Mohammad Ismaiel Doolaabi, we have barely searched for our lost and its footprints; from where, in where and why have we been lost?! Doolaabi says: “when the Wise men, found the footprints of the lost, they noticed the prints are their own footprints”. Yes, they had lost themselves and so they were lost. They had lost god; and thus the geometry of their God-centered thoughts & the knowledgable geometry of their art works were misplaced and so was lost. Then, we’re faced with this question: isn’t loosing our Godly true nature and eggos the reason we’re lost? This paper’s goal is to answer these questions. This truth that: We and our art have steped out of our Holy developing womb of the knowledgable geometry of God-centered thoughts & the body and Soules of ourselves and works. Although we should keep in mind that this womb is God’s Holy developing blessing and by stepping out of it, we are set back from continuous growth and flourishing. The next target of this article, is to explain the liveliness & development of the nature of Islamic Architecture and its knowledge centered effects and art works; to explain this meaning that: in its scientific based-structure & existencial developing process of life, the Islamic Architecture and Urban Design, although conforms the timelessness of the whole being (in its wholiness principall structure), but in building-cells of the whole body, is sympathetic and in comparition with the Temporality of life of partial-being of the Creation.

Attention deficit hyperactivity disorder (ADHD) is one of the most common neurobehavioral disorders of childhood but may continue into the adult years. The most common treatment is using stimulant medications and the role of Environmental factors is ignored. The purpose of this survey is studding the effect of Physical environment factors on ADHD disorder symptoms in children (6-10 years). Therefore with a semi-experimental study in one of the consulting centers in Tehran, 30 subjects were selected randomly and assigned into the experimental and control groups (15 subjects each). At first pre-test was performed by Conner’s Parent Rating Scale (CPRS-48) and after that some changes were made at control group’s houses physical environment with recommendations to parents. About 8 weeks later post-test was performed for the experimental and control groups and ANCOVA were used to analyze the data. Based on the results obtained, it can be stated that suitable spaces, using natural daylight, creating visual and aural communication with the outdoor spaces and also connection with green and open space and performing targeted playing in the open space are effective on decreasing the symptoms of ADHD disorder in control group. According to significant difference between experimental and control groups it can be stated that principled housing architectural design and taking  spaces quality beside quantity into consider, may help decreasing the symptoms of ADHD disorder in children.