Introversion is one of the principles of Iranian-Islamic architecture, which is derived from the importance and sanctity of family life and self-esteem of Iranians, and has been described as increasing attention to the space and simplicity and cleanliness outside; This study seeks to investigate the different types of housing, features and elements that make up the physicalspatial structure of the entrances of houses in Shiraz during the Qajar and Pahlavi periods and with a ray of light on a part of the architectural history of Shiraz, Take a step towards revitalizing its architectural identity and by increasing the number of examples and expanding the scope of domains and extracted components affecting each domain, it can develop architectural and practical designs and general rules for evaluation and even Achieve design and assist designers and planners in achieving the desired pattern of housing entry in the area, tailored to human needs. Accordingly, the research strategy is a combination of survey type, and since the independent variables of the research are the domains and sub-components of introversion and the dependent variable of the research are the input structure of the houses; Qualitative research data through historical and library sources and documents, observations and semi-structured interviews with professors and experts, and in a quantitative dimension in order to explain the spatial configuration of houses based on syntax or layout. The space is collected using hierarchical and Depth map software. The results show that there is a significant correlation between introversion and the entrance structure of Iranian houses in the Qajar period and the first Pahlavi period, and the evolution of introversion causes differences in different types of housing, characteristics and elements that make up the physical-spatial structure are entered; Thus, the entrance structure of Iranian houses in the Qajar period has introversion and secrecy, and the closer we get to the first Pahlavi period, the less it becomes and the tendency towards extroversion, the more It becomes.

The promotion of technology and science is one of the Manifestations of community development and is one of the main programs in developing countries. Following this development limitations and problems also appear. Due to advances in technology and consequently increasing energy consumption, especially in the housing sector, numerous issues including costs and environmental pollution, arise. In parallel to these issues in recent decades, in the design of small and medium-sized country houses, the calculations of the installation engineer related to comfort and low energy consumption have received little attention. Whereas in the past, according to traditional Iranian architectural patterns, passive cooling without energy consumption has been the most important part of providing comfort in hot and dry climates. Also, it seems to be a particular link between the architectural design patterns formed by geometrical proportions and the climatic design, that made the design faster and less neglected to provide comfort. However, today, with advanced computing technologies, we still see numerous buildings with severe deficiencies in climate design. This article assumes that there is a significant geometric structure from the perspective of static cooling in the traditional houses of Shiraz, seeking to find the relationship between the geometric structure of the architectural design to detect the optimal conditions of comfort with the lowest energy consumption and the fastest design time. In this regard, evaluating past designs with a point of view of energy based on new standards is a priority for the research path. The research method is descriptive-analytical and due to variation in passive cooling techniques and methods, along with computer analysis. After selecting the samples according to the criteria and extracting the geometric design pattern, base model production and energy analysis with the use of Design Builder software are performed, which enables the evaluation of the energy level of houses by adaptation of the analysis to the Iranian energy classification standard. Finally, it can be concluded that the geometrical and structural patterns used in the selected Homes are significantly consistent with the comfort conditions. In other words, the numerical proportions available at "Peymon", could produce a structure of dimensions and coexistence of components at the time of architectural designing that, in addition to meeting the structural and aesthetic requirements, were responsive to current energy consumption standards. At the time of the designing of the buildings, due to the lack of installation systems, this privilege was obtained only through static methods. In the performed analyzes, all extracted base patterns without any change in the components conducted Energy class label C. Next; it was possible to upgrade to B and A levels by optimizing the structure with thermal Insulation and double glazed window, etc. In the end, we can say that the modern architectural design inspired by the "peymoon" theory can increase the quality of energy consumption in the buildings with high speed and ease. So if in today's buildings, in the architectural design process, we use a pattern-based approach to the peymoon structure, at least in possible parts such as facades or general geometry؛ Not only can design time be reduced, but even without the need for installation engineer calculations in the energy field (which is usually eliminated in the design of small and sometimes medium-sized houses) much better conditions can be achieved in terms of energy efficiency.

The art of Qajar period includes many unique features and themes. One of the most exceptional features of Qajar artworks (painting on tiles) is women motifs depicted at semiprivate and private spaces, at houses of nobilities, and palaces. Qajar women in these paintings interact with foreign women’s identity and they have shown a new face of Iranian women. The archi-myth of Qajar period is included of three different groups of myths: Islamic myths, Iranian myths and distant myths. After all, we can say in the female motifs of Qajar’s artworks, Iranian, Islamic and native identities are present simultaneously. Qajar woman has an independent entity in solitaire frames. This article has investigated the identity of the Qajar woman and her actions and her personal characteristics, by analyzing a set of visual documents- solitaire frame tiles with women motifs- which is left from that era in Shiraz’s houses.

The art of Mirror work which is prevalent in Iran is completely an Islamic art and includes geometrical forms that allocated to Islamic countries. Since mirror work of Iran can be interpreted as a religious and traditional art, understanding the necessity of protecting, supporting and expanding this beautiful and incredible art, along with other handmade and decorative arts is indispensable. By virtue of library sources and field studies, in descriptive-analytical method and after a brief indication of the background of the origin of mirror work and stating its role in architecture of Qajar period, various types of Mirror work are investigated in three groups of mansions in this era in Shiraz, which include: dwelling houses, pilgrimage places and garden pavilions. Results indicate that different Mirror work types are used in these three building types. This art is performed on plaster on the wall & on the patterns of vases in dwelling houses, in pilgrimage places it covers the whole surface of wall & roof & the edge of cornice & also uses as the patterns of fret & arabesque, and also used as the cover of whole surface of wall & parts of roof & on plaster in garden pavilions.

Decorations in Iranian architecture refer to both aesthetic and infrastructural aspects such as social beliefs and religions. These sources have been effective in the way of decorations in Islamic architecture, so that the content of the image and the way of expressing that narrative are related to these tendencies. However, this process has undergone changes in different periods. Qajar period tiling is an important example of how to express the ideas and life of the people of that period. By recognizing these images, a clear and significant understanding of the cultural situation of that historical period can be obtained. It should be noted that these works of art are in danger of destruction and with their destruction an important part of Iran's cultural heritage will be lost. Iconography is that branch of the history of art which concerns itself with the subject matter or meaning of works of art, as opposed to their form. Originally, iconography referred to the description and classification of religious or artistic objects/images, while iconology referred to the interpretation of their meanings, but these two terms now tend to be used interchangeably or as closely interwoven. In order to systematise the process, Edwin Panofsky constructed an integrated frame of three levels of primary, secondary and tertiary analyses. Primary level (factual description of representations): the purpose of this is to enable the researcher to see all aspects of the object/image in order to prepare for the next level. Secondary level (iconographical analysis at a more abstract level): seeks the meanings of the signs/symbols/images presented. Tertiary level (iconological interpretation): involves seeking the deepest meaning through clarifying how the signs/symbols/images reflect the underlying principles or period in which the object/ image was created). Although Panofsky did not suggest this, an overall alternative analysis can often help by giving you another perspective through which to view the image. Topics such as feast, religious Quranic, epic, political figures, soldiers, martial themes, poetry, hunting scene, erotic, special motifs, single frame, daily life, battle, decorative motifs and Slimmi (arabesque) were examined in these images. Even as the new hybrid forms of Euro-Persian design grew more prominent in court circles, the older traditions of vegetal, geometric, and calligraphic ornament remained in use. The latter two types predominated in the decoration of Qajar religious architecture, and the arabesque was frequently engraved on metalwork during the 17th-19th centuries. In this age, this industry had unique features and characteristics. Moreover, the cities of Isfahan, Qashan, Yazid, Mashhad, Shiraz and Kerman were among the greatest ceramic centers in Iran during this period. The purpose of this study is to find the components affecting the image formation in the tiling of historical houses in Shiraz during the Qajar period. The main question of the research is to know what are the visual values ​​of iconographic designs of Shiraz’s tile decorations? The research method in this article is based on library and field methods and based on Panofsky's iconographic method. The method of collecting information is through field observation and personal perception of historical houses and library-documentary studies. In this study, 15 houses with intact tiling were examined. Image analysis was performed based on iconographic method. The houses names are Forough Al-Molk, Saadat, Tavalaee, Salehi, Modarressi, Tawhidi, Atrwash, Basiri, Owji, Tavakoli, Javaheri, Ardakani, Dokhanchi, Ziaeyan, Manteghinejad. The studied houses are located in the historical context of Shiraz and the researchers have done the research based on the photography and analysis of each photo. The study area includes a collection of eleven old neighborhoods. It can be seen that there is a clear method and a coherent narrative process in the pictures drawn on the tiles of the historical houses of the Qajar period in Shiraz. This shows that there are three trends in how the image is formed and expressed in these works. Adherence to public culture due to the use of national-lyrical and religious images, the tendency of the homeowner to modern thoughts such as images of European mansions or jobs centered on industrial technology as well as the inner desires of the individual are three major trends shaping these images. These three tendencies can be seen, not only in the general form of the image, but also in determining the color and type of expression of each narrative. Human paintings represent the highest percentage of the researched study pieces. They have been found to be highly varied and rich. In addition to including various age groups, the human paintings carried different body features, costumes and themes. Human images were used on the pieces represented by some tiling; while another tiling included portraits represented only general themes. The researched ceramic ones reflected distinguished paintings of birds, horses, fish and some animal like those which were depicted in paintings.

Neighborhoods are one of the most important elements in shaping the structure of Iranian cities. Many studies tried to represent the structure of historic cities focusing on the main physical elements (such as the Jama Masjid, the main bazaar, the capital, etc.) hence, the neighborhood has been considered only as a filling texture. Moreover, most of the researches that studied the neighborhoods as a separate issue, were limited to the generalizations and qualitative analysis of texts. Thus, the purpose of this study is to identify the patterns and structure of Shiraz’s historic neighborhoods accurately by using the non-physical elements. Shiraz has been chosen because it has credible evidence of the neighborhood since the eighth century AH. Therefore, the structure of neighborhoods by examining six urban elements, including the structure of passages, the role of streets, borders, uses, different living strata, and local names in three categories of “physical” factors, “social” factors, and “service” factors with descriptive and analytical methods were examined. The data are often library data collected by examining written documents (such as the travelogues and local history books) and historical illustrations (such as maps or pictures). The results show that “social” factors in neighborhoods are the most significant semantic attribute. It does not only have a mutual relationship with “physical” and “service” factors but also forms their basic foundations. The social role of neighborhoods in each historical period has led to selecting the location of the neighborhood, constructing the physical form, distributing the services, and giving symbolic names; this is a factor that causes the difference and cohesion of neighborhoods in the city at the same time. Finally, an attempt is made to describe the structure of Shiraz neighborhoods in the four periods of Atabakan, Zandieh, Safavid, and Qajar.Keywords: Historical Neighborhood, Neighborhood Structure, Social Role, Physical and Non-physical Features, Shiraz City.IntroductionThe neighborhood has a long history in the global urban system, with superiority in the Middle East and Asia. In Iran, Turkey, and Iraq, it is known as “Maallä” or “Mahalle” or “Makhala,” and in Aleppo and Damascus, it is known as “Hara” (Hourani and stern, 1970). Neighborhood plus three elements of government, ummah, and guilds are the four elements that are considered to be the main elements of Islamic urban life (Ashraf, 1353: 24). The neighborhood was like a town in the heart of the city, meeting all of its residents’ physical, economic, and livelihood needs. Many studies attempted to represent the structure of historic cities by focusing on the main physical elements (such as the Jama Masjid, the main bazaar, the capital, etc.); as a result, the neighborhood was only considered as a filling texture. However, non-physical dimensions that have been less well established in city history research, play a significant role in defining the neighborhood’s structure. The representation of neighborhoods based on the city’s main physical elements simply looks like the assimilation and dominance of the spirit of the times over the points of the authority of its contemporary government, rather than the reality of social life in those neighborhoods. Neighborhoods are typically formed as a result of social interaction between people who live in close proximity to one another. In fact, the neighborhood is a social unit larger than a family that is not directly controlled by the government. The goal of this research is to depict the patterns and structures of Shiraz’s historical neighborhoods from Atabakan to Qajar. This article is significant because it examines both physical and nonphysical aspects; emphasizing man and his entity above all. Furthermore, the city of Shiraz was chosen because many historical sources indicate the existence of a neighborhood from the eighth century AH. The research method used is a descriptive-analytical method in which data is gathered through library studies and a review of written and illustrated historical documents, as well as reconstructed maps based on evidence. Main TextIn the main body, three “physical,” “social,” and “service” factors have been selected as the most detailed classification after analyzing the various classifications made about the neighborhood’s characteristics.Physical factors: The physical boundaries of the neighborhood and the passage layout have been discussed in this section. Moreover, an attempt has been made to schematically reconstruct the location of neighborhoods prior to the construction of modern straight streets using information from passages and historical maps.Social factors: social, religious, and ethnic stratification, as well as symbolic neighborhood naming, have all been investigated.Service factors: the distribution of local uses and services, as well as local passage activity, have been assessed. Due to a lack of detailed historical background records, we have confined to the Qajar period. ConclusionThe findings show that the structure of Shiraz neighborhoods changed over time, from the Atabakan to the Qajar periods, while preserving their cohesion and unique identity.During the Atabakan period, Shiraz had 16 neighborhoods, all of which were located in the southeastern part of the current historical context.Between the Atabakan and Safavid periods, the urban fabric expands to the north and west, and the number of neighborhoods reaches 19 at the start of the Safavid period. Other religious groups, such as Christians and Jews, formed their own local passage and neighborhood during the Safavid period. These two neighborhoods were located in newly established parts of the city, close to the location of the government department at the time.Between the Safavid and Zandieh periods, the city expands again to the north, forming new neighborhoods, and a number of neighborhoods in the eastern block merge to form larger neighborhoods. As a result, despite the fact that the number of neighborhoods at the beginning of both the Safavid and Zandi periods is 19, we are witnessing the physical expansion of neighborhoods and the creation of new neighborhoods in the northern block. The number of neighborhoods was consolidated and reduced to ten by the end of the Zandi era, allowing the central government to better manage the city. The interesting thing is that the names of the former neighborhoods have not been forgotten entirely, and they can still be found on local streets.There are no major physical changes in the Qajar era compared to the previous period, but there is significant social change. Some of the neighborhoods are divided into aristocratic and demagogic zones. During this time, the governmental citadel completely isolated the Maidan Shah Neighborhood and Darb-e-Shazdeh from the rest of the city. The Ghavam-ol-Molk family community zone in Balakaft, Mushir-ol-Molk in Sang-e-Siah neighborhood, and the heads of the Qashqai tribe in the west of Maidan Shah Neighborhood, and Haji Mirza Hassan Ali Khan Nasir-ol-Molk in the southwest of Ishaq Beyg neighborhood were also among the aristocratic area. The study of service factors during this period reveals that, with the exception of the Kalimian neighborhood, all neighborhoods had at least 5 mosques and, in addition to the city’s main markets, three local markets in the aristocratic complexes of Sang-e-Siah, Bala Kaft, and Ishaq Beyg neighborhoods. The market of the Lab-e-Ab neighborhood is also mentioned in the documents. The distribution of local uses and passage activity demonstrates that the concept of today’s neighborhood center is largely embedded in the passage body. During the Qajar period, the most densely populated neighborhoods were Kalimian, Leb-e-Ab, Sardazak, and Ishaq Beyg.The analysis of the adaptation of the three factors “physical,” “social,” and “service” also reveals that during these seven centuries, neighborhoods were formed primarily on the basis of ethnic, racial, religious, and socio-political status. Furthermore, the names of neighborhoods and passages are the most stable feature connecting historical identity across generations.

The art of Qajar era has many unique features and characteristics regarding to materials, subjects and execution techniques. One of the notable art products of Qajar period is the tileworks used in private and semi-private sites of palaces and houses of aristocrats, the use of these tiles peaked especially in the Nasseri era. These tiles reflect the interests and tastes of the people of this period, regarding to themes, execution techniques and depicting the subjects, the tiles show special characteristics. They refer to the simultaneous presence of Iranian, Islamic and western elements in this period. To understand this, we need to know the concept of "archi-myth" and the functions of the myths in the semantic space of art and culture of Qajar era. After explaining the concept of archi-myth, the present article, first, tries to study the dominant myths in the Qajar's art and culture based on the tiles used in the houses of Shiraz, and then some of these tiles are analyzed. The main purpose of the research is to study the visual documents that explain the contemporary theory of archi-myth.

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.

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.