Soffeh
Year:2021 | Volume:30 | Issue:91|Papers Count:7

Establishment of bereavement ceremony in the form of mourning and lamentations in Hoseiniyehs, Settlement’ s, mosques and houses over time is the pride of the people of Yazd's Dar al-Abadah and this love and affection for the Ahl al-Bayt makes the mourning more glorious and magnificence every year. This study describes the characteristics of Yazd's mourning mood in the form of recognizing and introducing the houses of Imam Hosseini in Yazd. Since the people of Yazd provide their homes with mourning ceremonies, this research aims to provide a solution for the continuation of Imam Hosseini's houses by recognizing common features and introducing them in the form of a pattern of spatial relations for these houses. This study been done in Yazd. The research method used in this study is qualitative content analysis in which data collection method has been performed in the field and library or documentary record. In this way, first a brief history of the great and historic martyrdom of Hazrat Sayyid al-Shuhada (as) and after mentioning the historical course of mourning for Imam Hossein (as) to introduce the holy places and mourning centers and express the characteristics of the historical context of Yazd that Imam's houses Hosseini has settled and identifying Imam Hosseini's houses in Yazd and introducing them, the behavior of the mourners and the use of space during the morning in these houses are examined and after identifying the capacity of these houses, which house needs to be able to have an Imam house Hosseini will be introduced. With use of this information for achieve a pattern, the required spaces for these houses are defined and the position and relationships between them are shown in the form of space relations diagram. Finally, the required standards for each of these spaces are summarized.

Understanding cognitive territory in physical space is one of the most basic human needs. One of the contraption that the Iranian architect has used for this purpose is to provide a special model for spatial division in the architecture of the building, in such a way that by separating public spaces and private spaces, a quiet space is provided for family members without interference. Territories can be variable in time and space. Some territories are under the constant supervision and control of a particular individual or group. Others are temporary and almost everyone has access to it, and ultimately groups, at the same time being both available to the public and under the supervision of regular people. Considering the importance of this type of territory (According to Altman named secondary territory) in the home, which not only provides the collective space of the family but also plays a serious role in the formation of social interactions and the creation of collective memories, the objective of this paper investigates the evolution of the secondary territory in the houses of Dezful. The approach of this research is qualitative and the research method is logical argumentation. At first, using library resources, the position of the territory and its related theories have been gathered. Then Based on field observations and Semi-structured deep interviews with residents, the data were extracted by coding. Based on that, it became possible to recognize the real boundaries of each of the three kind of territories by understanding the cultural features, the ways of living and life style. Investigations in the secondary territories in the houses of Dezful indicate the reduction of spatial diversity, from open space, semi-open space, and closed space to a completely closed space. In addition, these changes have been accompanied with reduction in habitable levels and elimination of vertical communication, and increase of single functional spaces. And also the results show that during this period of time, the use of secondary territories has been less dependent on time and seasons, therefore less collective memories has been formed.

Orientation and the building facade glazing percentage are two parameters necessary to be considered during the early stages of architectural design in order to determine the location of the building on site and control the balance between the transparent and opaque parts of its envelope. The aim of this research is to specify the optimum values of orientation and glazing percentage of building facade and finding the effect of deviating the variables from the optimum values on the total building energy consumption. The cases of this research are the schools constructed based on the current standards and specifications of Iran’ s Organization for Renovating and Developing Schools in humid temperate climate. Due to interrelation between these two parameters, their impacts are studied concurrently. Research questions are: 1-What is the optimum orientation angle and facade glazing percentage of school buildings in designated climate, in terms of the lowest energy consumption? 2-What is the sensitivity factor of these variables in different situations on total energy consumption of the building? 3-What is the differences of changes due to deviation from the optimum values, for each parameter? In this research the Latin Hyper-cube method is used for sampling the input values; and Designbuilder program with Energy Plus simulation engine is used for modeling and analysis. According to the results of this study south-facing buildings have the optimum orientation with whatever glazing percentage. However, the optimum glazing percentage depends on the building orientation and would differ from 40 to 55 percent. This study shows that increasing the glazing percentage of school buildings up until 40 percent for east– oriented buildings has the most significant sensitive effect on building energy consumption, whereas increasing it more than this value didn’ t show a considerable effect.

To embody a collective history of Isfahan through a symbolic and monumental physical space, the recent past (Sabzeh Meidan) is replaced by a new place named Imam Ali square. This research, emphasizing the political aspect of memory and forgetting\remembering, has approached a critical turning towards the experience of a social group that is ignored in the mentioned project. This study, adopting grounded theory methodology and interview method, explores the lived experience of those local tradespersons in the area who are still working there. The concept of “ semantic inversion of the monument” , as the core category in research findings, describes the nature of the monument construction in experience of the studied group. Produced as “ imaginative geographies” , monumental public spaces could inverse the top-down organized memories through local narratives.

Decorations in Islamic art are often built on combinations of repeated squares and circles, which may be overlapped and interlaced to form intricate and complex patterns. Based on the shapes drawn from the circle, the earliest geometrical forms in Islamic art were occasional isolated geometric shapes such as 8-pointed stars and lozenges containing squares. These date from 836 in the Great Mosque of Kairouan, Tunisia, and since then have spread all across the Islamic world. In 1086, 7 and 10 point girih patterns (with heptagons, 5 and 6 pointed stars, triangles and irregular hexagons) appear in the Jameh Mosque of Isfahan. 10 point girih became widespread in the Islamic world and this kind of girih (10 point girih) is the subject of this paper. Girih are elaborate interlacing patterns formed of five standardized shapes. The style is used in Persian Islamic architecture and also in decorative woodwork. Girih designs are traditionally made in different media including cut brickwork, stucco, and mosaic faience tilework. In architecture, girih forms decorative interlaced strap work surfaces from the 15th century to the 20th century. Most designs are based on a partially hidden geometric grid which provides a regular array of points; this is made into a pattern using 2-, 3-, 4-, and 6 fold rotational symmetries which can fill the plane. The visible pattern superimposed on the grid is also geometric, with 10 and 12 pointed stars and a variety of convex polygons, joined by straps which typically seem to weave over and under each other. A recurring motif is the 8-pointed star, often seen in Islamic tilework; it is made of two squares, one rotated 45 degrees with respect to the other. The fourth basic shape is the polygon, including pentagons and octagons. All of these can be combined and reworked to form complicated patterns with a variety of symmetries including reflections and rotations. Such patterns can be seen as mathematical tessellations, which can extend indefinitely and thus suggest infinity. As it cited above, in this article, the method of 10 point girih drawing is essayed and in order to maintain and ease the use of this lasting legacy in contemporary Iranian Islamic architecture, the question arises as to how to minimize the tools and stages of 10 point girih drawing, invented a method for drawing schematics in addition to speeding up the practice of drawing and applying motifs. Authors, in response to this question, have developed a method called the baseline method (eighteen – eighteen Method), which presented an original pattern for drawing 10 point girih motifs. The most difference between this new method and traditional method is that in this method, girih would been drawn without using circle and compasses which results in a higher speed for girih drawing. In this research, a combinative method has been used; the data collection is based on library documentation studies, and a kind of logical methodology based on mathematical relationships and mathematical proportions, is used for presenting a suitable model for drawing 10 point girih.

Stories narrated by ordinary people for some architectural works can be considered as a source for recognizing them. Still, in some cases, these beliefs and myths are so accepted by researchers without any doubt or challenge. An example of this belief is the story narrated by the people of Afushteh, according to which a decorated pavilion shaped monument is called Sharbatkhā neh. The name Sharbatkhā neh, which seems to be derived from a narration about Taj al-Din Hassan-i Hosseini or Seyyed-i Waqif, is so well established that being invalid never comes to mind. However, a review of the only available document from the buildings of Seyyed Hassan-i Waqif in Afushteh, that is, the deed of endowment of this building, shows that this name is not very documented; In other words, there is no such name in the deed of the endowment. In the same document, another building called Chā hā rṣ offeh and Ṭ anabī is introduced. In recent years, a study of documents and structures in Afushteh by Hossein Azam-i Wā qifī has suggested that the Chā hā rṣ offeh and Sharbatkhā neh buildings were the same without a thorough examination of the reasons. The primary purpose of this study is to clarify how accurate and provable such a hypothesis is. However, proving this assumption does not determine whether the building is Sharbatkhā neh or not, because Chā hā rṣ offeh refers to it architecturally and Sharbatkhā neh mentions its function. So the next goal is to find the function of the building, first by validating the name Sharbatkhā neh for this structure and then by examining the names that have been applied to it in other sources. The current research tries to study the historical documents as well as the physical aspects of the building by the aid of the historical interpretive method. The result of this study first confirms the conformity of the Chā hā rṣ offeh and Sharbatkhā neh, and secondly chooses the name Timurid Chā hā rṣ offeh instead of the use of names derived from unknown and invalid functions.

The differences between various architectural histories partly have their roots in the historian’ s ‘ viewpoint’ . The architectural historian’ s view does not develop in a vacuum, and there is always a certain perspective involved. The historian’ s viewpoint does influence his or her questions, testimonies, and interpretations, but more crucially it highlights or conceals certain layers of architectural knowledge. The present paper studies some distinct viewpoints through which an architectural history views architecture. To do so, four distinct Western examples are chosen. Following a brief introduction of each example and its viewpoint through a descriptive and interpretive method, the historian’ s point of view is discussed in each. The focus here is on the Gothic cathedral and one of its significant examples, Chartres Cathedral. The books and the focus of each one’ s viewpoint are as follows: 1. History of Architecture on the Comparative Method (1905), views architecture as the artistic solving of building problems, and thereby Gothic cathedral as the outcome of the evolution of construction solutions; 2. The Story of Western Architecture (1979), adopts a Marxist theory of history, viewing architecture as the outcome of the role of the designer in the social division of labor, focusing on ‘ modes of production’ in its explanations of the Gothic cathedral; 3. A History of Architecture: Settings and Rituals (1995), asserts a sociocultural nature for architecture and the Gothic cathedral, and hence studies it in terms of how it reflects the rituals held in it; 4. Architecture, from Prehistory to Postmodernity (2002), takes architecture as a spatio-visual monument-making art. According to this book in each monument, including the Gothic cathedral, the it's formal appearance, visual qualities of the space, and it's psychological effects are what make a work historically noteworthy.