Losing a HOUSE is the biggest threat to people during natural disasters, such as earthquakes that are frequent natural hazards in Indonesia. Post-disaster housing reconstruction becomes a construction challenge to build adequate HOUSEs contributing to personal safety, health and comfort. The invention of a simple ergonomic instant HOUSE using lightweight steel structure, bracing, and the local wood WALLs is urgently needed. This invention is proposed to provide quick and low-cost mass construction HOUSE which meet safety and comfort requirements. The HOUSE is designed in 6 meters by 3.5 meters while the height of the ceiling is 2.8 meters. The HOUSE's front side is equipped with a door and a window, while at the back is equipped with a window. The six criteria for appropriate technology are considered in the construction method. The criteria include technical, ergonomic, social and cultural, energy-saving systems, and environmentally friendly. The scheme of systemic, holistic, interdisciplinary and participatory (SHIP) is considered at stages of design, construction and maintenance. The structure system is analyzed with a 3D model of the finite element method using SAP-2000. The given questionnaires' feedback assesses the satisfaction of the residents living in the HOUSE. The conclusions are included in five substances: (1) The HOUSE materials are lightweight steels, bracings, and local wood; (2) The structure should meet the safety requirement; (3) The HOUSE satisfies the requirement of safety and health; (4) The residents are satisfied and positively improve their living conditions following the disaster; (5) The HOUSE satisfies a simple ergonomic HOUSE.

Murals of the Qajar era particularly in the historical HOUSEs are considered a valuable treasure of cultural, religious, and social concepts of this era. These figures have often been depicted with specific accuracy and elegance. These are symbols of the beliefs and worldviews of the people of that era and can be studied as a visual document to recognize developments in Qajar art and architecture. The Qoreyshi HOUSE in Amol, as one of the most outstanding samples of this era, containing varied murals full of symbolic concepts provides a unique opportunity for semiotic analysis. This research tries to reveal the relationship between figures and Qajar's religious, cultural, and social beliefs with the goal of deeper investigation of hidden meanings and concepts in various layers of mural figures in this HOUSE. Murals analysis in this research is higher than a mere description. It seeks their hidden meanings and symbolic implications to obtain a comprehensive perception of the artistic and religious views of artists and audiences of that era. The questions of this research are: 1-What concepts are observable in murals of Qoreyshi HOUSE in Amol? 2- What is the semantic load of the figure layers in the Qoreyshi HOUSE in Amol based on the visual semiotics approach? The methodology of this research is descriptive-analytical. The sampling method is selective with a sample size of four general murals, which themselves have twelve minor figures. In addition, it was qualitatively analyzed using a visual semiotics approach based on implicit and explicit implications. The mural figures of Qoreyshi HOUSE in Amol include animal, plant, symbolic, human, and hunting classifications where the peacock figure implies preventing Satan from entering the building, the rabbit figure implies bringing enemies to their knees, the woodpecker figure implies protecting the trees, and the comb figure implies generally human protection, respectively. There is an explicit implication to the role of a life tree in plant classification in the form of a cedar tree and a vase pattern. The life-tree figure is a symbol of the Tuba tree, and using vase figures motivates sensory stimulation in the eyes of the audience on the exterior of the building. Dragon in the classification of symbolic figures implies neutralization of negative force, the sun goddess implies the divinity and essence of the Almighty, and the bird-woman implies angels and archangels. The human figure of a hunter-man reflects the daily life of the native artists, and the lion and deer fighting in the figures classification is a symbol of the power and glory concept. The results showed the figures' impressibility from Iranian cultural and religious beliefs and social classes of the Qajar era. Regarding the cultural and artistic importance of the Qajar-era buildings, their protection is essential. Therefore, it is suggested to get inspired by the decorative figures of these buildings in contemporary art to protect this heritage and connect the past and present.

One of the most important eras in the development of Iran’s art and architecture, especially in the format of murals, is the Qajar era. The dominant attributes of this period are relations with the West and adopting its culture and art. Qajar’s mural art was represented in different buildings, including HOUSEs. Nasir al-Mulk HOUSE of Shiraz is one of the buildings of the Qajar era, and in its Shahneshin Hall, there are prominent and diverse ceiling paintings. Given that the existing paintings on the ceilings of this building provide a combination of Iranian and Western concepts and contents, the comparative study of their motifs becomes significant both for a better understanding of the visual and topical approaches of the ceiling painting art of the Qajar and also to fill the gap of the comparative information in this field. The ceiling painting of the aforementioned building was studied to answer the following question: What contents and representations do these paintings imply based on the iconographical comparative analysis? This research aims to identify, study, and carry out a comparative evaluation of the motifs in the ceiling of the Nasir al-Mulk HOUSE based on the iconography method. In addition to the library studies, this research was supplemented by data from field investigations, including in-site examination, documenting the paintings, and also describing and explaining them. The results of this research provoke the readers’ attention not only to the existing motifs in each mural but also to their latent concepts. The semantic perspective of the art of this era discloses the fact that despite the imitation and separation from originality, this art reached an individual identity that could be named as Qajar style. In the end, this research was an endeavor to provide a deep understanding of the existing concepts in the murals of this era in Shiraz and to discover the ontological viewpoints of individuals in this period.

The safavid Era is one of the most important Islamic dynasties in Iran and Islamic Worlds. The historic HOUSEs of this period, along with their magnificent decorations, are one of the HOUSE of Mirmiran is located in the town of Varzaneh in Isfahan province. The HOUSE is 3610 square meters and determined as a national heritage in 2008. Architecture of the HOUSE is comparable with the typical architecture of the center of Iran with central yard, in two floors and some decorations including WALL painting and stucco decorations. The decorations are more rich in a single room at the north of the HOUSE,this room is called shah neshin means place of the king or royal place which is a name usually given to the most glamorous part of any HOUSE or room. WALLs of the namely room are fully covered with WALL painting. Illustrations are inspired by Persian literature and Iranian legends including tales of Shahnameh, fairy tales and in one case, authors believe a war scene is illustrated. Furthermore, a hemistich of an Iranian well-known poet, Hafez of Shiraz, can be recognized in Nastealigh calligraphy. Technic of the paintings is something between WALL painting and stucco decoration, which is known as Koshte-bori. The calligraphy is carved with the same technic as the illustrations. The decoration of the HOUSE of Mirmiran`s shah neshin is similar, both conceptually and technically, to the interior decoration of the HOUSE of Pirnia located in Naein, also in southeast of Isfahan. Illustrations of the HOUSE of Pirnia are also, related to the Iranian fairy tales, Shahnameh and Panj Ganj of Nezami of Ganje who is another well-known poet of Iran. Moreover, some poems belonging to the other Iranian famous poets can be, seen all over the rooms in nastealigh calligraphy. As mentioned before, same calligraphy is used in the HOUSE of Mirmiran. The only technical difference, in Mirmiran motifs are all illustrated negative while in Pirnia motifs are both negative and positive. Current article aims to at first, interpret the illustrated scenes. Then, technic of the WALL paintings will be discussed and subsequently, according to the interpretations of the illustrated scenes and school of the paintings, a relative dating will be presented,it is noteworthy that Mirmiran HOUSE is believed to be dated back to early Safavid dynasty (15th century AD) but according to the elements mentioned above, authors believe WALL paintings are more recent. Finally, as pointed out above, interior decorations of the HOUSE of Pirnia is comparable with those of shah neshin room of the HOUSE of Mirmiran,the relation to the HOUSE of Pirnia in Naein will be discussed. The most important results are the effect of the paintings of the Mirmiran’, s HOUSE on the Isfahan paintings style and Reza Abbasi and his students, and its undeniable role in comparison with the HOUSE of Pirnia in Nayin. The study carried out in this article gives the relative history of these decorations to the second half of the 11th century A. H.

Investigating and identifying the historical evolution of Islamic monuments indicate the continuity of traditions, in a way that Iranian-Islamic architecture has used traditions and patterns of the previous eras and evolved in each era compatible with changes and needs. This research studies mural decorations in two buildings of the Safavid era, Pirnia HOUSE in Naein and Ganjalikhan Caravanserai in Kerman. As these murals are considering as the finest examples of Safavid decorations and since the time of their built was close, these questions arise: what are the similarities and differences between their decorative elements? And whether there is a common feature in the contents of these two buildings? Few numbers of studies have been conducted in this subject, especially about GanjaliKhan building, and also deterioration of these WALL paintings, show the necessity of a large-scale comparative study. The purpose of this research is to review and analyze these motifs based on their descriptions and comparisons. In addition to describing the visual aspects of decorations and the principles of aesthetics, this report tries to elaborate the overall structure, descriptions and details of these WALL paintings and present them in analytical and comparative tables to show their similarities and differences and provide a basis for future studies. In this study, the comparative-analytical research method is used to evaluate and study these three themes of murals and collecting the information is done by field and library research method. The results show similar structure and composition of murals in both buildings and support this hypothesis that a common pattern has been used in these decorations that reminds the painting traditions of that era. Also, by considering the similar approach in designing both buildings, it seems that there is a common pattern in designing and implementing the motifs of two buildings.

An essential feature in spatial arrangements of Persian plateau, the central courtyard is an integrated solution for both material and spiritual needs of its inhabitants. The arrangement is much influenced by its surrounding environment both in its formal composition (overall geometry versus the geometry of details), and construction methods (materials and technology). It thus exploits all potential advantages of the environment with the least possible intervention (deformation or pollution). Prudent treatment of natural elements (sun, wind, water, and soil) has created a pleasant comfortable microclimate in the harsh warm desert climate. The "Central Courtyard or the City-HOUSE" thus creates a shelter which harmonizes with the sun movement and demonstrates the nature in an intelligent abstract way which bestows it with an archetypal dimension. On the other hand, the progressive Sustainable Architecture approach which values design solutions in response to socioeconomic, cultural and environmental constraints, recommends techniques in line with the central courtyard arrangement in the plateau. Therefore the arrangement can be constituted as functional and thus learnt from in the present context.

This study was carried out to identify the best required time for stratification along with the optimum time and generation power test of seeds. The treatments include 22 different periods of stratification from 10 to 32 days. The experiment was done as completely random design blocks with four replicate with 30 seeds within each block. The Ending time of stratification period was the same for all treatments. The percentage of rotten seeds, seed germination and rootlet length were measured, and then the obtained data were analyzed statistically. The results indicated that Chilgoza seeds incubated in temperature of 4°C for 33 days could germinate 38%. While the seeds with less than 16 days has no germination power. In general, this study suggests the period of 23-30 days as the best time for stratifying Chilgoza seeds.

Background: In intracavitary brachytherapy for gynecological cancers, various techniques are used to locate the anterior rectal WALL nearest to the sources but there is no consensus on the best method to do so. This study aimed to compare a technique used routinely in some centers that employs a wire marker to locate the position of the maximum rectal dose point, versus the method recommended by the ICRU Report 38.Materials and Methods: In a preliminary prospective study on 34 intracavitary insertions for patients with cervical or endometrial cancer, treated at our center based on the Manchester system, the dose distributions were obtained from a treatment planning system following the input of scanned orthogonal anteroposterior and lateral radiographs. For each case, an in‐HOUSE marked wire was inserted in the rectal lumen and the doses were calculated on several points along the wire seen on the radiographs, to obtain the maximum dose. For the same insertions, the ICRU method was also applied by considering the rectal WALL hot spot as a point 0.5 cm posterior to the posterior vaginal WALL (visualized on the radiographs by vaginal packing material containing contrast medium).Results: Averaged over all insertions, mean rectal WALL hot spot dose calculated using the posivonal information obtained by the wire technique was lower by 28.6% than that given by the ICRU method (P<0.001).Conclusion: Our initial results add evidence to the suggestion that the wire technique underestimates the rectal WALL hot spot dose significantly compared to the ICRU method.