فهرست مطالب عسل ستار

A holy place is a place that is distinct and prominent from all its surrounding in most religions. One of the key elements to distinguish these places is the "dome". In addition to having a unique architectural structure, the dome is considered a valuable and universal symbol in different historical periods and lands. The main question of this research is to study the symbolic shape of the dome and explain the supreme wisdom used in the shape of the dome in the religions of Hindu, Iranian-Islamic and Byzantine Christianity. The main goal of this research is to investigate how the symbolic elements and hidden concepts are realized in the dome structure in the religions of Hindu, Iranian-Islamic and Byzantine Christianity. The research method is descriptive-analytical, and is performed using library tools based on traditional opinions. The results show that all religions follow a sacred geometry in the formation of temples based on circle and square; and the dome is considered as an element that connects the soul to God and represents unity.

Contemporary architecture has not been able to fulfill its role due to its disconnection from its indigenous culture and identity. Such a disconnection has brought irreparable consequences since it has made architects get disconnected from their true origin. This has resulted in overlooking the real rules and principles governing the design of buildings, especially cultural buildings that have an identity-maker role in society. Therefore, studying the laws and rules that govern cultural spaces, especially at the international level, due to the extent of their duties in promoting and preserving ethnic culture and teaching science and technology, is important and needs to be considered in the design of such spaces. Therefore, the main goal of the research is to study the rights related to cultural spaces included in the selected international documents of the research to extract principles and components for improving the quality and functionality of these valuable places. Due to the generality of cultural spaces and the fact that the majority of their audience is children, it is necessary to pay attention to and evaluate the cultural rights related to children included in international documents. In this regard, efforts have been made to examine selected international documents, including the Universal Declaration of Human Rights 1948, the International Covenant on Economic, Social, and Cultural Rights, 1966, and the Convention on the Rights of the Child, 1989 to see how the rules of cultural rights and a series of requirements and components provide architectural solutions to achieve these requirements. These solutions can improve the quality of cultural spaces and exercise relevant rights. The research method is descriptive-qualitative, and the method of data collection was library type. The result of the research indicates effective components such as sociability, the manifestation of Iranian identity, the responsiveness of spaces to children’s needs, and the efficiency and usefulness of space in cultural places.

The construction of religious buildings such as Hosseiniyehs was very prosperous during the Qajar period in the Shiye city of Kashan, which stood out and represented the religious culture of the people of this region. Considering the disorder and cultural discontinuity that can be seen in the architecture of Kashan city, the need for culture-building is felt in connection with the use of past patterns. According to the religious and cultural background of Kashan, the most obvious and lasting of these models is the architectural model of the Qajar period Hosseiniyehs, which are considered to be the hallmark of Kashan city. Therefore, the main goals that are followed in the research are the design of a cultural and educational space to spend leisure time and pay attention to the social and cultural development of the region, as well as culture and promotion of the native culture of Kashan region, inspiration from Islamic religious values and the presentation of a lasting work, preserving the identity and historical social values in accordance with the context and creating a responsive space. In this regard, it has been tried to design the cultural center and its spaces with a qualitative method based on the characteristics of the Hosseinieh architectural model. Therefore, spaces were created that, while having an independent personality and appropriate to their function, are connected with other spaces and have the ability to respond to the diverse needs of the audience by creating sociable and inviting spaces while defining the territory and maintaining to have security and finally to provide an integrated collection to increase social interactions and cultural exchanges along with educational programs and most importantly familiarity with the native culture of the region which was the main goal of the collection design; Therefore, the attention and emphasis of the plan is on the application of identity and cultural-religious concepts of the region, which is manifested in the form and spaces of the cultural center.

The Qajar period is known as one of the important periods in the history of Iran in terms of giving importance to the construction of religious buildings due to the religious tendencies of the Qajar kings; As a result, the Hosseiniehs enjoyed a special status, Also, the city of Kashan, due to its religious background and the existence of Shieh scholars, was highly regarded by the Qajar kings Which led to the construction of numerous religious sites, including the Hosseiniehs. However, the architectural model of these Hosseiniyehs and also the reliance of the Qajar period as the ritual architectural model of this period has always been questioned. Therefore, achieving the architectural model used in Hosseiniehs of the Qajar period as an example of the religious architecture of this period to remove ambiguities and more importantly to introduce a model consistent with the context and function. In order to improve the quality and culture of the current architecture of Kashan, it is important; Therefore, the purpose of the research is based on achieving the architectural model of the Qajar period Hosseiniehs in Kashan. In this regard, In this regard, 5 Hosseiniyahs of Kashan Qajar period were identified and Based on a descriptive-analytical method with field studies along with the study of ascriptions, documents and historical texts at three levels of macro, medium and micro was analyzed and reread, Finally, by adapting and analyzing the collected information to the questions raised in the research Including the characteristics of the spatial physical pattern of the Hosseiniehs as well as the similarities and differences in this pattern were answered. Despite the slight differences in the input components as well as the number of inputs, dimensions of the dome and extensions, the results of the comparison and adaptation of the analyzes In the case of each example, there is a fixed, distinct and centralized physical spatial pattern in terms of plan, form, spatial organization, facade, materials, space, as well as decorations. Which fully follows the principles of ritual architecture (symmetry, hierarchy, centralism and introversion). As a result, the most characteristic features of the spatial physical pattern of the Hosseiniyehs are Specific geometry and form, easy access, theatrical, sacred and centralized spatial manifestation through spatial organization and the use of special architectural elements such as skylights, domes and applications in a space with an average area of 200 to 350 square meters.