The buildings and structures of each historical period reflect the art, knowledge, technology, skills, and lifestyle of the people of that era. Among these, royal buildings such as palaces, PAVILIONs, and citadels hold a special place, as rulers sought to use the latest technological, scientific, and artistic achievements to transform these structures into symbols of their greatness, splendor, and lasting legacy in history and memory. This article focuses on identifying the PAVILIONs during the reigns of Sultan Mahmud (387–421 AH) and Sultan Masoud I of Ghaznavi (421–432 AH) and examines their various uses based on the book "History of Bayhaqi." The main question addressed is: What were the uses of the PAVILIONs during the Ghaznavid era? This exploratory research does not propose a hypothesis and was conducted using a descriptive-analytical method. The most important findings indicate that these PAVILIONs were not only symbols of the sultans' and the government's glory, but also served various administrative, political, military, socio-cultural, religious, sports, and recreational functions.

Problem statement: After the establishment of industrial factories in the first Pahlavi era, the new noble social class that owned factories was added to the traditional noble families (i. e., tradesmen, courtiers, landlords, and government relatives) of Isfahan. Considering the developments of that era and the new demands of factory owners, tradesmen, and government relatives, a new PAVILION-style architecture appeared in Isfahan’s noble houses, which are either destroyed or exposed to destruction, as they have no written documents. Research objective: This study aimed to analyze and document Isfahan’s contemporary residential-architectural heritage based on house typologies. Research method: The study method fell under historical-interpretive research and was based on field, documentary, and oral findings. For this, the typology of Isfahan’s PAVILION-style houses in the first Pahlavi era was based on a combination of mass-space and ground deployment, space-entry elements syntax, and main and secondary axes of the building, façade, and decorations. Conclusion: According to the findings of this study, PAVILION-style houses in Isfahan during the first Pahlavi era are classified into three types: first, a space organized by a stairway (mostly two-way) in the center of the plan, with other spatial elements formed on either side, second, a space organized by a hall located in the center, with other spatial elements laid next to it, and third, service spaces on the ground floor separated by a corridor from other spaces. Here, the element of the corridor is located in the center of the plan, with other elements formed next to it. Findings also suggest that in the interior spaces of the studied houses, volume, diversity, and decorations have reduced compared to the Qajar era, however, the facades facing the courtyards and passageways include more decorations (brick, tile, and metalwork), with the decorations being more geometrically and realistically themed. Also, one can see the traditional materials of Isfahan used in those structures, as flat ceilings with wooden beams have replaced traditional arches.

Jahānnāma PAVILION at the beginning of Čahārbāḡ Street is one of the famous palaces of the Safavid period, which, like many other palaces of this period, was completely destroyed during the Qajar era and specifically, the rule of Ẓell-al-Solṭān. With archaeological excavations in the approximate area of the palace in 2014, in addition to determining its exact location, a significant number of seven-color tile pieces with plant motifs were obtained. The present study was carried out with the aim of identifying the plant motifs used on the tiles of the ruined palace of Jahānnāma and finding the similarities and differences between these motifs and the plant motifs of the tiles of the remaining Safavid palaces in Isfahan and identifying their indicator Characters. The research questions are: What kind of plant motifs are mostly used in Jahānnāma Palace tiles? And what similarities or differences these plant motifs have with the plant motifs on the tiles of other Safavid palaces in Isfahan? The information of this research has been done through the method of finding and collecting library documents and texts on the one hand, and on the other hand, field investigation on 141 pieces of remained tiles from Jahānnāma Palace and compare them with the patterns of tiles of other palaces remaining from the Safavid period in Isfahan. So the research method is descriptive-analytical and comparative. The results of the research show that among the plant motifs in the tiles of Jahānnāma Palace, Eslīmī and ḵatāʾī motifs have the highest quantity, respectively, and these motifs, with their vast subsets, show that they are very similar to other motifs found on the tiles of other palaces in Isfahan. In all four researched palaces (ʿĀlīqāpū, Čehelsotūn, Haštbehešt, and Jahānnāma), the greatest similarity can be seen in the combination of Islamic motifs with ḵatāʾī motifs, while in some parts, ḵatāʾī motifs are used individually and only in one of the palaces.

The decorations in Iranian architecture are among the most unique patterns and imagery in the world. Without a doubt, Iranian gardens are symbols of art, serving as the manifestations of architecture and painting left by the artists of their era. The Fin Garden of Kashan stands out as one of the most unique examples of Iranian gardens, with the Qajar PAVILION shining like a jewel in its heart. The unique spatial organization, physical characteristics, patterns, and motifs in this section of the Fin Garden demand its proper recognition. It is imperative to carefully consider the proportions and composition of the motifs and decorations in this building and employ them in other arts, such as carpet design, to preserve and maintain these works. Studying and analyzing the Shamseh (Sunburst motif) designs with Eslimi and Khatei (Iranian Arabesque) patterns on the middle ceiling of the Qajar PAVILION can be a lasting display in other Iranian art forms. The analysis of these motifs indicates that the general forms of this design and the motifs used in these forms are highly compatible and in perfect harmony with Iranian and modern arts. These patterns can be utilized with a few minor tweaks with respect to the materials and special tools of each artistic field to help create unique and creative new works of art. This research is a case study in the form of a document-based field study and has been carried out with a descriptive, analytical, and adaptive approach, leading to sections of the text lacking references. The data collection and utilization in this study involved library sources and field research (photography) to examine the designs in the Fin Garden of Kashan. In order to analyze these unique motifs left from the past, understand their design and implementation methods, and reuse them in novel and innovative roles within other arts, particularly in carpet design, the designs have been drawn in an open linear fashion.

AbstractYazd, a significant city located on the outskirts of the desert in Iran, has been sustained by a network of historic qanats (Persian aqueducts) drawing water from the underground sources in the neighboring cities of Taft and Mehriz. These qanats, originating from the slopes of Shirkoh Mountain, have played a crucial role in the growth and prosperity of Yazd over the centuries. The vast Yazd-Ardakan plain, around which these qanats revolve, has provided ample space for the city's expansion. Since the 14th century AD, ambitious projects involving gardens and agriculture have been meticulously planned on the borders of this plain, particularly in the southern and southeastern regions surrounding the city of Yazd. The dedication of nobility, rulers, courtiers, and the general populace in funding and executing numerous projects in this area laid the foundation for the creation and evolution of garden neighborhoods (Bagh-Mahaleh) that flourished in size and number until the end of the Qajar Period. However, the haphazard urbanization that plagued Yazd, along with many other historical cities in Iran in the past century, posed a serious threat to these garden neighborhoods, leading to their gradual decline and eventual disappearance. Old aerial photographs serve as an affecting reminder of the once vibrant gardens, now reduced to slender leftovers of their former glory.       The research aims to merge old sources and visual records through a historical methodology in order to reveal the origins, design, and creator of one of these gardens. The garden was situated in the southeastern vicinity of the region that now delineates the borders of the historic neighborhoods of "Abshahi" or "Naeem Abad". Along the northern front's outer edge, there is relatively well-preserved evidence of a structure that may have functioned as a gate-palace or "Aali Qapu". Amidst the Chaharbagh, the structure of a two-story PAVILION has been identified, offering a view of the Chaharbagh and the main four corners of the complex through four eyvans or porticos. The architectural style of this PAVILION is reminiscent of the "Hasht-Behesht", which later became the predominant design of PAVILIONs in Chaharbaghs during the late centuries of the Islamic era.       This complex, believed to have been named "Bagh-e-Eram", was likely established during the reign of Fath Ali Shah Qajar by Abdul Reza Khan Amir Muayid (1827-1829 AD), the 20th offspring of Muhammad Taqi Khan Bafqi (1748-1802 AD), and was constructed in 1829 AD, the final year of his official governance in Yazd.Keywords: Islamic Architecture, Qajar Period, Chaharbagh, PAVILION, Yazd. IntroductionThe city of Yazd in Iran is situated on the edge of the desert and has been sustained by numerous qanats drawing water from the underground sources of the Shirkuh slopes in Taft and Mehriz. These qanats have played a crucial role in the city's formation and development over the centuries. The Yazd-Ardakan plain, through which these qanats pass, has allowed for the expansion of land, leading to the clever construction of qanats by the city's planners. This area, covering the southern and southeastern parts of Yazd, saw the initiation of large garden projects in the late 14th century AD. Not only rulers and governors, but also courtiers and the public contributed significantly to these projects. However, during the late Pahlavi period, the physical development of Yazd led to the destruction of these garden neighborhoods. The neighborhoods, which were once independent and located a league away from the city, were gradually absorbed into the center and lost their historical and functional identities due to disorganized constructions. The historic nature of these neighborhoods, characterized by gardens and PAVILIONs, laid the foundation for their development. Upon analyzing the historical aerial photographs of Yazd, it becomes apparent that the remains of the surrounding walls and occasionally the structures within them have been carefully documented in the old neighborhoods. These remnants, although scarce, serve as a testament to the artificial nature of cities like Yazd, extending beyond the present-day prominent gardens. It is apparent that the city had a distinct appearance in the past. Research Methodology This paper is basic in research purpose and historical in nature. Thus, the data are analyzed using a “historical approach”. Despite attempts to conduct field investigations, the extensive damage to the site hindered the acquisition of valid results. As a result, data collection was primarily carried out through comprehensive desk research.Conclusion Several valid researches have been conducted regarding the city of Yazd, particularly its neighborhood gardens and the significant garden of Dolat-Abad. However, the sample under study has not been researched yet. The necessity of exploring this issue arises from the problem of the destroyed historical garden, which can still be identified in old aerial images. The perimeter wall, parts of the middle PAVILION, and the gate-palace have been carefully examined and studied. This garden was situated in the immediate southeast neighborhood of the current historical neighborhood of Abshahi or Naeem-Abad, specifically at the northeast end of the Safaiyah neighborhood. The research findings reveal that the existing architectural structure, measuring 148 x 265 meters, was the perimeter wall of a chaharbagh. On the outer side of the northern front of this structure, remnants of a building can be observed, indicating its use as a gate-palace or Aali Qapo. The middle building, a two-story PAVILION, offers views of four gardens and the main sides of the complex through four eyvans.       The trees planted on either side of the four walkways enhance the beauty of the eyvans. The architectural style of this PAVILION, reminiscent of the upper Eshkob plan of the Qajar model of Ezzat-Abad garden in Abarkouh County, is the same Hashtbehesht style that became the dominant design of the PAVILIONs of Chaharbaghs and Cheshma-e-Amarts in the later centuries of the Islamic Period. The fountain and pond inside the central PAVILION are additional elements that can be identified in this structure. One of the qanats that ran through the western part of the complex terminated in the western rampart. This could be Qanat-e-Najaf Abad which one of its streams runs through the pond. It is feasible to contemplate a flat and beamed covering for the eyvans and corner rooms, based on the stability of the remaining structures and the ratio of the wide opening of the eyvans to the small width of the load-bearing beams. This design choice is evident in the Ezzat Abad PAVILION. Similarly, the covering of the middle opening can be likened to Hashtbehesht of Isfahan Domed, supported by historical evidence and the presence of the pond. The dados of the eyvans were crafted from marble, suggesting that the floors of the spaces were likely covered with the same material.       The historical complex known as Bagh-e-Eram was most likely constructed during the reign of Fath Ali Shah Qajar by Abdolreza-Khan AmirMuayid, the 20th son of Muhammad Taqi Khan Bafqi. It was built in 1829 AH. In the 1960s, a four-walled building was added to the north and northwest, overlapping with the southern fence of the complex. The construction of the Yazd-Kerman railway in the 1970s led to the destruction of parts of the eastern and northern ramparts. Over the years, due to the city's development, the Garden Square was occupied, the gate-palace was destroyed, and the middle hut was demolished in the 1980s and early 1990s. Today, only broken remains of the western rampart serve as a reminder of this once-historical complex.

Waterfront PAVILIONs are one of the innovations of nighttime gardening. In the late Middle Ages and late Islamic period, the tradition of gardening along with watering with a special style was popularized by artists and architects in the subcontinent. It seems that the first examples of this architectural pattern were formed on the continental night during the reign of the Mamluk kings, imitating the landscape architecture of some Hindu temples. The pattern of water PAVILIONs became widespread during the reign of Gurkhani and due to their extensive connection with the Safavid court, this gardening tradition led to the development and continuation of the architectural pattern of the subcontinent culture of Iran. The present research has tried to use this "historical approach" in this architectural pattern in two blanks that have a symmetrical pattern,One to study, introduce and compare the "Jal Mahal Palace in Narnatul" and the other "Destructive Bayrat Palace in the State of Rajasthan" in the Indian subcontinent. Introduction Landscape design in Iranian architecture began a long time ago with the construction of gardens and green spaces and had gone through a degree of excellence. Aquaculture as the dominant landscape is a new experience that has not received much attention in architectural history research. This seems to be the reason why there is a difference of opinion in explaining their origin and name,Some researchers have called this model of landscape architecture "PAVILION located in the water" (Koch, 1373: 60-47). Others have called them "the source of construction" (Shekari Nairi, 1398: 190). This is despite the fact that two examples of them in the subcontinent have been named "Jal Mahal" meaning hunting place (Joshi et all, 1999: 65,Sharma et all, 2008: 1531). Despite examining examples of this pattern in both the subcontinent and Iran, two examples of them in the subcontinent, which have significant similarities in terms of appearance and structural features, have not been introduced much and there is no complete knowledge of them. One is a mansion called Jalmahl in Narnaul in northwestern India and the other is a mansion called Bayrat / Viratinger 65 km southeast. The present study tries to answer two basic questions, one regarding the structural features of the two buildings and the other, the functional aspect and the origin of their design, and through this, tries to explain their names. 1. 1. Research methodology Data collection has been done through documentary studies,therefore, while fully describing the studied samples, an attempt has been made to obtain a qualitative analysis of the structural features, origin, and functional aspects of such works by using the historical approach. Discussion The architecture of the Islamic era in recent centuries has benefited from a considerable variety of designs. The development of architectural patterns that had begun in the historical period reached its final stages during this time. The geometry that in the second half of the Middle Ages in the "Azeri style" was more and more dependent on the design of architectural works and according to Pirnia, led to the variety of designs (Pirnia, 2007: 21). It blended with other elements and gave a sublime form to architecture. One of these elements was manifested in landscape architecture. This element was "water",What had previously been offered in this field of architecture in the form of a garden or a four-garden, and which was actually displayed in gardening, experienced a new and, of course, not pervasive idea. The new experience is "watering". In other words, the PAVILIONs, instead of gardens and orchards that were accompanied by water tables, geysers and "ponds", appeared in an area of water. Due to its natural and climatic talents, this model was built and developed in lands where the main infrastructure was provided. Geographical reports, historical and architectural evidences indicate that the pattern of the waterfront PAVILION is derived from Hindu landscape architecture. The first subcontinent Muslim sultans from a land with a cold climate ordered to build these dams / reservoirs to moderate the climate in the subcontinent and provide a large source of water to meet the needs of city dwellers. Historical evidence shows that in addition to the functions we went through, sluices were used for other purposes during the reign of the Gurkha kings of India, especially Akbarshah and Jahangirshah: hunting waterfowl, fishing and hunting cattle that used these lakes as watering place. For this reason, some of them have been called Jal meaning hunting. The Muslim sultans of India’s interest in nature was sometimes revealed in the form of PAVILIONs and mansions on the water which had not previously been possible in Central Asia and Afghanistan due to natural limitations The dazzling display of the PAVILIONs and the water level of the halls in the court ceremonies at night with the help of lights and lanterns was another motive that was effective in the subcontinent as a court tradition and in Iran as a case in having such a landscape architecture. Ambitious thoughts can be added to these motives,Landscape architecture, which had previously matured in the form of gardens and orchards, did not soothe the ambitious spirit of both employers and landscape architects. Akbarshah Gurkhani’s (d. 1014-963 AH) interest in hunting and fishing was the reason two mansions was built in Bayrat in this type of architecture to be used during his visit in the present state of Rajasthan. Despite being inspired by the ancient tradition in the subcontinent for the view of both mansions, in the construction of the middle mansion due to its extroverted capabilities and better utilization of the view, the Iranian model of Hashtbehesht was used. The influence of Iranian architecture does not end with this pattern because the inscriptions of Persian poetry in the example of Jalemhal and the Iranian arrays used in the interior facades of the Bayrat PAVILION along with the external arches have Iranian identity. This is exactly the repetition of the same methods that were common with the arrival of Iranian architects to the court of the Gurkhani kings. Indian parachutes on the exterior of both mansions functionally accelerate the airflow in the mansion and in a way, apart from the aesthetic aspects, by creating natural suckers,they are very effective in modulating the air. These elements are clearly derived from indigenous architecture. Conclusion The water PAVILION was first erected on the subcontinent during the Islamic era due to its natural talent. Due to extensive relations established between Iran and the subcontinent in the late Middle Ages and later centuries, the mansion located in the water also entered the architecture of Iran, but unlike the original geography, natural constraints prevented its spread throughout Iran and in a number comparable to the subcontinent. Temperature adjustment during the hot season, drinking water supply and agriculture, creation of hunting grounds, nature love, and providing a beautiful landscape especially during the festivities that were held at night are the reasons for establishing this landscape architecture pattern. The two examples of Narnaul and the Viratinger / Bayrat PAVILION were also built based on the same needs by the local rulers to please the Gurkhani emperor, Akbarshah (d. 1014-963 AH). In their design and construction, a beautiful combination of native subcontinent / Hindu architecture and Iranian architecture can be clearly seen. Hasht Beheshti Carcass of both mansions, Persian poetry inscriptions, architectural elements and many arrays are in Iranian color. The view around and the five roof trusses are taken from the native architecture. The climatic and natural talent seen around these two works is a representation of what has been recorded in the Jahangirnameh in connection with the places / halls / campuses. From this point of view, the buildings of Narnaul and Bayrat and the landscape around them, as can be seen in some of their arrays, can be considered as places that were first used as hunting grounds by Akbar Shah and later his son, Jahangir.

“ Bagh-e Shah” (The king’ s garden) is one of the structures in Abbasabad urban gardens complex in Behshahr, which dates back to the Safavid era. The garden and its PAVILION have experienced hasty and subjective changes, and adorned decorations through time, particularly in contemporary times, which are considered severe damages to the authenticity and identity of the place. The hypothesis in this research is that the harm due to the misled changes in the garden caused by the separation of the PAVILION from the systemic and general approach toward the garden stems from a superficial and partiality view toward it. This article seeks to assess the damages and misplaced changes of the PAVILION in different eras by the phenomenology of the PAVILION’ s landscape as a turning point of the garden. The present study has been done qualitatively, by a descriptive-analytical method and phenomenology using field and documentary information. The results revealed that the PAVILION was built following a systematic and holistic approach in harmony with the garden system. The break of the systems in the atomistic attitude in succeeding times led to the withdrawal of the PAVILION from the holistic system. The fruit of this view is the disregard of a profitable regulating whole, the advent of misplaced changes and different styles, the duplication of bodies contradicting the meaning, direction, and identity of PAVILION’ s landscape today.

Space is one of the basic concepts of architecture, which is surrounded by the form and is perceived in the perceptual relationship between the perceiver and the perceived form. In architectural works, the articulation of spaces forms the spatial structure which consists of the internal relations and interactions of spaces. The spatial structure causes a special perceptual quality which has a fundamental role in the experiencing and understanding an architectural work. One of the appearing qualities in the spatial structure of the Iranian architecture is transparency that has had worthy appearance in the period of the architecture excellence, Safavid era. The goal of this study is to explain and classify transparency in the spatial structure of Iranian architecture, considering the architecture of the Safavid era. For this purpose, buildings of this period were divided into two types, according to their spatial structure: extrovert and introvert. Hasht Behesht PAVILION of Isfahan and Imam Mosque were respectively chosen as extrovert and introvert types. The study, based on case study method, has attempted to analyze, explain and categorize various types of transparency in the spatial structure of Iranian architecture, using data from library documents and field observations. The findings of this research show that spatial transparency is diverse in Iranian architecture. This perceptual quality of space can be classified to “moving / perceptual” and “visual / perceptual”. Iranian architects have achieved visual / perceptual transparency through elements such as Fakhromedin, Shanashil, Hornoo, Shebak and Rozan, and have achieved moving / perceptual transparency through elements such as courtyard, porch and dome. Research findings also show that the elements of visual / perceptual transparency, in addition to their performance, contribute to lightness, visual continuity and simultaneous understanding of internal and external spaces; while moving / perceptual transparency contribute to opening, lightness, sequence, integrity and continuity of space, and one always feels space as defined but endless. As a result, Iranian architecture, especially in the Safavid era, has both spatial sequence and continuity. The spatial continuity always places a person inside a space which is defined.

Despite numerous studies conducted on Iranian gardens, the analytical investigation of the role of gardens in the shaping of PAVILIONs has not received significant attention. In this study, utilizing fractal geometry, we can observe and analyze architectural qualities with mathematical precision and greater detail. This approach aids in re-examining the visual perceptions of the PAVILION structure and identifying the missing geometrical value of the garden. This article delves into the relationship between a PAVILION and a garden through fractal geometry. The findings are discussed and explored to uncover the architectural complexities of PAVILIONs, which are influenced by the garden and its natural surroundings. A historical garden named Fathabad in the city of Kerman was selected as the case of our study. Fractal dimension analysis is employed to analyze the two PAVILIONs’ facades. The box-counting method was applied to measure the fractal dimensions of the facades at three scales. The results would reveal the relationship between each of the two PAVILION facades and the garden. The findings indicate that while different facades share similar architectural elements, they exhibit diverse fractal dimensions. These dimensions reveal the position of each facade relative to the garden’s geometry, and the variable fractal dimension within each level signifies distinct relationships between the levels and the garden axes. Additionally, facades parallel to the main garden pond or those without a direct view exhibit a lower fractal dimension. Although facade openness can serve as a measure of its connection to nature, fractal analysis demonstrates that facades with multiple openings have varied relationships with the garden. Furthermore, the analysis of decorative elements reveals that in parts of the facade with fewer openings, ornamentation may be influenced by the garden’s natural features. In summary, fractal geometry elucidates how the garden and its elements impact different parts of the facades of the two PAVILIONs.

The ornaments of the Qajar period reflect how Iranians adopted their approach to modernism from the West, and the way in which the architecture of this period was influenced by different architectural styles of the 18th-and 19th-century Europe. Influenced by European Rococo and Neoclassical styles, the Qajar Period is a time of change in Iranian architecture. An important type from this period is the residential PAVILION in the middle of gardens with open views outwards. Here the role of window is changed from an element open to inner courtyard, to a faç, ade looking towards the exterior garden. Therefore, an important architectural element reappears: the window-pediment. Investigating how Qajar architects used Western elements in ornamenting the facades of new buildings, this study has selected the 19th century Ahmad Shahi PAVILION in Niavaran Palace, which contains 21 windows and two walls decorated with window-pediment. Using descriptive-analytical method and close-range photogrammetry as a system for data collection. The walls are carefully photographed together with their windowpediments, reproducing accurate faç, ades with the help of Agisoft Metashape and orthophotos. Then, by comparing the facades, three types of forms were identified: simple triangular, scroll-shape broken and spiral-shape broken pediments. A precise lassfication of pediments, taking into account the characteristics of shapes and the filling texture of the pediment context, shows that there are 16 different types of pediments. There are similarities between paired pediments and those to the sides of arrays of three and five. The southern wall on either side of the decorative staircase is the most elaborate, with the apex of open, broken pediments crowned with the popular motif of the Qajar period, namely, flowers and vase. The research has concluded that creativity and improvisation in changing the shape of the pediments, the pattern of the ornamentation of the pediment chest and its filling texture using moulded, ornamented bricks is the distinguishing feature of the work of Qajar period architects.