جستجوی مقالات مرتبط با کلیدواژه « حمام » در نشریات گروه « هنر و معماری »

The Safavid period can be considered one of the important cultural and social periods of Iran and one of the turning points in the architectural history of this land. Iran's privileged geopolitical position and economic attractions in the Safavid era caused many travelers to come to Iran, and most of them wrote travel diaries after returning. The travelogues of European travelers in the 10th to 12th centuries AH, which is approximately the same time as the Safavid period, are considered one of the most important documents of Iranian architectural history, regardless of the purpose of the trip or the shortcomings of the text and sometimes misunderstandings.The lack of documents and written sources about the history of architecture and how buildings are built show the necessity of studying and reflecting on travelogues from this point of view. On the other hand, bathhouses, as a special type in Iranian architecture, are one of the most vulnerable types of architecture, and unfortunately, their destruction has increased in recent decades.Therefore, any source that helps to know and better understand this complex phenomenon in Iranian architecture is valuable. Iranian bathhouses have attracted the attention of tourists from two perspectives, first and more popular culture and second and less, bath architecture. This research seeks to show the image presented by European tourists of the 10th to 12th centuries AH of the Iranian bathhouses by studying a few sources. The research questions are:1. What aspects of the bathhouses have been noticed by the tourists in their travelogues of the 10th to 12th centuries AH?2. by emphasizing the architecture of the bathhouses, what are the differences between the image presented by the travel writers and what we know about the baths today?

The method in this research has a qualitative paradigm and was done in an interpretative-historical way. Data collection has been done through documentary studies and field observations of the bathhouses. Among the many travelogues written in the research period, 26 travelogues were selected and studied. Among the aforementioned travelogues, only six travelogues have mentioned the bathhouses. In chronological order, these travelogues are Figueroa's travelogue, Pietro Della Valle’s travelogue, Adam Olearius's travelogue, Chardin's travelogue, Kaempfer's travelogue, and travel observations from Bengal to Iran by William Francklin.

From a quantitative point of view, Architecture has been the most important topic. The Second topic of the travellers’ attention is the Anthropological aspects of bathhouses. Travel writers have also mentioned the Medical and Religious aspects.From a qualitative point of view, with an emphasis on the architecture of bathhouses, the cases mentioned by travelers were very few and incomplete in most cases. The image presented by travelers has many differences from what we know about the architecture of bathhouses today.

In general, it can be concluded that the Safavid period was brilliant in the architecture of baths. Most travelers are not familiar with the unique phenomenon called the bathhouse, and that is why few travel books have mentioned the bathhouses and also the few topics of the architecture of the baths. Although the travelogues of the 10th to 12th centuries AH are very important and valuable sources for knowing the history and culture of the Safavid period, they cannot be considered reliable sources regarding the architecture of the bathhouses.

Bathhouse (public Bath)  as one of the well-known models of traditional Iranian buildings is important in the architectural literature, which is due to the heat exchange feature and energy storage in the body of this type of building. From this point of view, the fact that the whole design and pattern of these public baths are similar to each other needs to be investigated. In fact, traditional baths are not only an example of historical value but also this building has a special and valuable function in terms of energy storage and prevention of heat exchange. This study focuses on their thermal behavior because the main parts of the traditional baths are two dry and wet spaces in the spatial-functional hierarchy of this building, namely the tepidarium (garmkhaneh) and the apodyterium (sarbineh). In this study, the thermal crust of hot and dry climates in Iran will be investigated due to the limitations of the research only in terms of surfaces and geometric area, which is one of the three main components in heat exchange through the crust. This study tries to identify the body of these spaces in terms of measures to reduce the area to volume ratio by examining the walling of the tepidarium (garmkhaneh) and the apodyterium (sarbineh) as spaces sensitive to heat exchange through the envelope in traditional baths. This research has a quantitative post-positivist paradigm and a combined strategy of modeling and mathematical reasoning that for the meaningfulness of the responses, the relationship between heat loss through the envelope, and the effectiveness of reducing the power of the heating system based on the quantity of the area is understood by simulating traditional bathroom spaces and adapting design solutions. What is induced based on the study of proportions and comparison of surfaces and volumes of selected samples, is that the general design of apodyterium and tepidarium spaces, by increasing the floor area of walls and walls connected to spaces with lower temperature difference and also reducing the area to volume ratio in Outdoor-related building-envelopes has led to a reduction in temperature losses through the envelope.

Problem statement:

  Various estimates have been presented regarding effective strategies for reducing heat loss and energy storage in the body of traditional Iranian bathhouses. However, the efficiency level has not been determined due to the impossibility of calculating the function of each one.

This study attempts to the efficacy of three common strategies in the body of bathhouses, including “compactness in the texture and neighborhood”, “entering the ground” and “surrounding the apodyterium among unconditioned spaces” to see which is the most effective in preventing heat loss from the shell in traditional Kashan bathhouses.

The present study uses a quantitative paradigm and energy simulation strategy. In this study, Design Builder software was used for its calculations. It is based on evidence obtained from the physical reading of the spatial structure of traditional bathhouses in Kashan City. They were selected using a non-random sampling method.

Surrounding the apodyterium spaces among the unconditioned spaces in Kashan bathhouses has had different results which can be explained by their centrality in the bathhouse plans. However, in its minimum state, the space has been effective with a mean of 13.94% per year in Sultan Ahmed Bathhouse and 46.74% in Khan Bathhouse. This figure has reached 33. 18 percent compared to all four bathhouses. It shows the significance and efficiency of this strategy compared to the insignificant efficiency share of the strategies of inserting the bathhouse inside the ground and “compact urban texture to use the neighborhood” with values of 5. 44 and 0.6, respectively.

Bathhouse (public Bath) as one of the well-known models of traditional Iranian buildings is important in the architectural literature, which is due to the heat exchange feature and energy storage in the body of this type of building. From this point of view, the fact that the whole design and pattern of these public baths are similar to each other needs to be investigated. In fact, traditional baths are not only an example of historical value, but also this building has a special and valuable function in terms of energy storage and prevention of heat exchange. This study focuses on their thermal behavior because the main parts of the traditional baths are two dry and wet spaces in the spatial-functional hierarchy of this building, namely the tepidarium (garmkhaneh) and the apodyterium (sarbineh). In this study, the thermal crust of hot and dry climates in Iran will be investigated due to the limitations of the research only in terms of surfaces and geometric area, which is one of the three main components in heat exchange through the crust.This study tries to identify the body of these spaces in terms of measures to reduce the area to volume ratio by examining the walling of the tepidarium (garmkhaneh) and the apodyterium (sarbineh) as spaces sensitive to heat exchange through the envelope  in traditional baths.This research has a quantitative post-positivist paradigm and a combined strategy of modeling and mathematical reasoning that for the meaningfulness of the responses, the relationship between heat loss through the envelope and the effectiveness of reducing the power of the heating system based on the quantity of the area is understood by simulating traditional bathroom spaces and adapting design solutions.What is induced based on the study of proportions and comparison of surfaces and volumes of selected samples, is that the general design of apodyterium and tepidarium spaces, by increasing the floor area of walls and walls connected to spaces with lower temperature difference and also reducing the area to volume ratio in Outdoor-related building-envelopes has led to a reduction in temperature losses through the envelope.

Bathhouses (Garm-abeh) are beneficial and worth concerning public buildings in the history of Iranian Islamic architecture, which include excellent factors in each one of their spaces. Hierarchy is one of the most apparent qualities of these buildings, which is the main concern of this paper, introducing Mian-dar [middle corridor] as the space between Sar-bineh [cloakroom] (place for undressing, resting and conversing, located past the entrance and before the Garm-khaneh) and Garm-khane [hot chamber] (Main place where washing and massaging takes place), which brings this quality in such space. This research will dig into the secrets of architects that made this fact possible, which are studied in the scale of bath’s three main spaces (Sar-bine, Garmkhaneh and Mian-dar) and tools and methods they’ve used in anatomy of Mian-dar. Therefore, by gathering the information of all of Fars’ public baths from the Safavid to Pahlavi Period, researchers studied and analyzed mechanisms of hierarchy in Mian-dar and geometry and circulation in the main three parts of these public baths and their effects on this quality. Concerning this study and analysis on calculations and tables, this paper has found that there is a specific area proportion between Sar-bineh, Mian-dar and Garm-khaneh; The results also show, Corridor (Daalaan) is the main element used in Mian-dar of medium sized bathhouses, which is often U shaped and includes 2 to 4 turns inside itself. But in the large scaled bathhouses, corridors join forces with Vestibules (Hashti) which are halls to access other minor spaces; and in small bathhouses, architects on have only used walls and short turns in combining with corridors to separate two main bathhouses’ spaces, creating a sense of hierarchy.

Hekâyate Hammâme Djenniân is a story written in two versions during the constitutional era. This unique document is one of the few writings in which modern architecture and Iranian architectural traditions are discussed and argued, the main concern of this writing is architecture. The story is about a father and his son who went to a traditional public bath, and face challenges, then they have a critical discussion about Iranian culture, architecture, traditions, and beliefs. Introducing, analyzing, correcting, and rewriting parts of this story have shown that the criticisms in this story about public baths in Iran can be divided into four general groups; spatial organization, sanitization and hygiene in Iranian traditional public baths, stairs in Iranian architecture, and the absence of a governmental institution which regulates the constructions. The solution proposed by the characters of the story in the face of these problems is designing baths in a new way, and their major solution is to increase the public awareness towards architectural and urban issues. This article show that at least some of the differences in the acceptance or rejection of the new architecture which has been extended to the early modern period, especially in the field of constructing and organizing public baths, can be the result of a kind of difference in reading religious issues of two groups involved in the constitutional era, which are generalized to architecture, and that the arguments of both sides for or against changing the patterns of pre-modern baths, were religious in many cases.

Hygiene and purification are very important in the religion of Islam. The importance is manifested more in paying attention to a type of architecture namely bathroom. Bathrooms, in addition to physical and material characteristics, have ritualistic and immaterial characteristics and in order to identify them, common physical structure of public should be studied. Of course, it should be noted that these structural patterns in architecture and particularly in traditional architecture have direct relationships with building functions and in fact, any building is constructed for special function and with a pattern appropriate to it. One of the main functions of bathroom is to perform rituals of purification and according to most researchers; rituals of the purification are of rites of passage. Now the question arises that what role did rite of passage play in the physical structure of Iranian public baths? Reaserch

The present study has emphasized to find the effect of rites of passage on basic pattern of Iranian public baths. The results of the present study show that the three-part structure of rites of passage was considered as an inspirational concept in the design architecture of the bathroom.Research

In order to study the role of rite of passage in physical structure of Iran’s public baths in accordance with the research requirements, while using the logical reasoning based investigation, historical interpretation method is also used. The research data have been gathered via library resources and documentary studies.

Iranian baths have three-part structure including a Bineh (caldarium), a mediator (middle corridor) and a hot chamber (tepidarium) and purification as the main function of bathhouses reflects the rite of passage. In general, rite of passage has three separate, purgatory and reintegration stages and this three-stage spiritual journey can be seen in bathing customs and purification rituals. The results of the present study show that three-part structure of passage is likely the inspired concept of traditional structure in architectural design of bathhouse and the use of three-part structure in its body.

The bath and bathing process beyond a place, and consequently an activity related to the individual and public health, has traditionally been a communal activity in Iranian society which, gradually and as a result of the entry of human mentality into an architectural communal space over time, has become subject to the objective-subjective rule. And because of the effects of the social connections, religious beliefs, the influence of classified society and cultural traditions into the framework having the hierarchy of access, privacy, communal and service space, it has become a phenomenon beyond a communal activity, personal practice, or related to a particular social group. Moreover, in addition to surrounding all these groups because of the considerable time spent by the people of traditional society in this framework, and rooting this building in urban plazas, neighborhoods, alleys and lanes over a long period of the history of Iranian human life, the bath has taken an unconscious form, coupled with custom and religious beliefs and, in other words, has become a social ritual. This paper has attempted to prove the claim that bathing is more than an individul health practice, and in fact is a ritual social activity in the traditional society of Iran, through the understanding of the “social behavior of the bath” and related events by using two following study procedures. These two study procedures are 1. examining library resources including the study of historical and literary texts, besides 2. field study of the motifs and structures of Iranian baths based on the Study of Ganjali-khan bath in Kerman, as one of the most excellent baths in urban plazas in Iran.

Written sources on Iranian pre-modern architecture in Islamic middle ages are  very scarce. The material that is scattered in literary and historic texts is normally limited to monumental architecture, and mostly related to the architectural works and not to the process and the agents. Moreover, there is not much material on people's and vernacular architecture. However, there are surviving documents related to the Iranian's general life and social interactions which are full of architectural information. Over millennia, ordinary people have built thousands of buildings and villages. They also had to make written records for various social matters; especially when religion encouraged them to keep written records: in waqf (Islamic endowment), inheritance and trades. Waqf, inheritance and trade documens are often ignored but information-rich Iranian architecture, especially the people's architecture. Some of these documents, especially the royal and court documents are kept in governmental archives; but thousands of documents are in the possession of individuals, families and sometimes private archives. One example of these is the family documents collection of the Gorgāni (Estarabadi) families. This article is written based on two documents form the Estarabad family collection using the descriptive-analytical method. In this article we introduce two documents, going back to the end of the Qajar era, both of which are related to the construction of baths in two villages of Ganareh and Qoroq, located in Estarabad. Haj Mohammad Mehdi Kabir, one of the important merchants of the city of Estarabad, decided to build baths in two villages which probably belonged to him family in 1916. He employed builders and architects and made a contract with them. The dates of the two documents are one month and five days apart. The document texts and even their paper type are similar. From the handwritings it can be surmised that the scribe is the same for both document. The architect for the Ganareh bath is Ostad Hossein Banna and the architect for the Qoroq is Aqa Seyyed Mohammad Jafar Banna. It is remarkable that both of these architects are from Tehran. The length and remuneration terms for both the contracts are the same. Various parts and space units (compartments) of the bath as well as some of their physical features are mentioned in these documents. Some information can be also inferred with regards to the general composition of the bath spaces. The description of these spaces are nearly similar and have the same dimensions. Like most other historical texts, these documents give more information between their lines. For example, the documents do not give a description of each of the places they name. It is apparent that merely using the name of spaces such as central courtyard or platform was enough to let the patron, the architect and the witnesses know what the description is and how it should look physically. Or for example, there are no mentions of innovations by the architects. It was not the job of the architects to innovate and to use these innovations in constructing baths for fame in Estarabad, Tehran, Iran or the world. Their intention was to serve; their intention was to erect bath houses which were functional for the Qoroq and Ganareh villages to the best of their ability and meet the physical and emotional needs of the people.

Traditionally Iranian societies have been particularly concerned with their cleanliness. This concern was intensified with their conversion to Islam that made them subject to ritual duties. While the forms and structures of Iranian bathhouses evolved over the long time, their overall spatial arrangement patterns have been almost unaltered. The eldest public bathhouses in Fars Province, Southwest Iran, date back to Zand and Qajar periods. The present study investigates the structural patterns, proportions, and spatial interrelations as well as their correlation with climatic issues in order to explicate the role of regional climate in designing bathhouses in Fars during the Qajar era. Field investigation and library studies were conducted through evaluating the building plans and their major sections including the apodyterium (bineh), tepidarium (garmkhaneh), the passage in between (myiandar), and the service rooms at 14 bathhouses across the province, eight of which were located in warm and very warm and the remaining 5 in cold and moderate zones, paying special attention to their construction materials, proportions, ornaments, forms, and patterns of spatial arrangement as well as spatial, numerical and climatic relations. The results conveyed that: 1) the main spaces feature an octagonal plan as a standard architectural style. Hot, dry and semi-humid climates in the Southern parts of the province also featured a pothole room; 2) In both warm and cold climates, dominant construction materials consisted of stone, plaster, lime, and saruj; 3) The average length-width ratio of the whole bathhouse was estimated to be 1.67-1 in warm and 1.7-1 in cold climates; 4) The apodyterium always exceeds the tepidarium in size throughout the province. While the bathhouses in colder zones are smaller in average, their apodyterium and tepidarium together make a larger portion of the total area of the bathhouse; and 5) Generally speaking, karbandi (ribbed vaults or decorative gypsum lines on the vaults) is the dominant decorative element.

Concerning the theoretical origins of the bathroom formation in Islamic civilization, from antique natural sciences (medicine) viewpoint, there are trivial researches. Although most of the Medieval Islamic medical texts dealt with the various aspects of human - environment interaction for health, the instructions of these texts in assessing the theoretical tenets of architectural creation have not been studied from the interdisciplinary links of natural sciences and architecture history perspective. The trace of architecture and medicine connection can be found in the medical texts of ancient Greece and Ten books on architecture. Vitruvius viewed the knowledge about different climates and healthy/unhealthy places quite essential for architects and believed that without these sorts of knowledge the adequacy of a residence was not provided. Following the predecessors, Medieval Islamic physicians supposed medicine as a science for the elements and temperaments of a human and considered its objective as health maintenance while being healthy and recovering while being patient. Bathing and bathrooms are interdisciplinary fields linking architecture and medicine; hence most of the antique physicians devoted some part of their works to the role of them. Since long time ago, beside the ceremonial, social, and hygienic functions, bathing has had direct impact on health protection (body/spirit) and the treatment of some illnesses. Although for the predecessors bathing originally pertains to the excretion of waste matters from body, additionally most physicians have focused on its advantages and disadvantages of health and the cure of diseases as well as some features of bathroom architecture. From all these instructions we perceive that besides cleanliness, refreshment, body recovery and some pain relieving functioning of bathing and bathroom architecture, in fact, they are reminiscences of natural and gradual return of moderation into body and self, based on natural philosophical theories towards human-cosmos affinity.

In this article I try to delineate the theoretical origins of bathroom’s formation in Islamic civilization by taking the Medieval Islamic medical texts into consideration. The major question is: what is the scientific origins and principles of the formation of bathrooms? This article approach is historical interpretation of Medieval Islamic Medical texts about the role of bathing and bathrooms in preventing and paving the way for the human physical-spiritual moderation. The theoretical framework on which this study has been formed is the scrutiny of architecture general pattern and painting in bathrooms based on the instructions of the two fields of Physical Medicine (al-Tibb al-Jesmani) and Spiritual Medicine (al-Tibb al-Ruhani). Since according to ancient Medicine the human health relies on the moderation of human strengths and temperaments through the coordination and adaptation of body and mind with the nature, hence this article claims that the structure of different sections in bathrooms of Islamic civilization is in harmony with human body (temperaments) and the themes of the paintings in these bathrooms are in accord with human selves. The findings of this study indicate that the formation of Medieval Islamic bathrooms has been based on the instructions of natural sciences, due to the interactions amongst physicians with artists and architects of senior rank in their castes. In fact, the creators of paintings and bathrooms founded the professional tenets and concepts of their crafts by imbibing the instructions of natural sciences sages and translating them into their profession jargon. Based on the medical knowledge, the most significant theoretical origin of Islamic artists and architects in the formation of bathrooms is justifiable due to the structural resemblance of a human and cosmos. In other words, bathrooms are in accord with body elements and types of self, in essence with cosmos. These resemblances include the correspondence of bathroom sections and human four temperaments as well as the correspondence of bathroom paintings and human triple self. The basic objective of these resemblances, structural and thematic, in bathrooms has been the creation of an environment in accord with human nature for keeping the temperament moderation and durable health.

Coffee shops have always played a key role and have affected the shaping and stability of important parts of social cultures and traditions as well as public rituals. Although this effectiveness during different periods has been associated with distinct ups and downs, a number of traditional religious and other kinds of shows such as minstrelsy, eloquence, curtain narration and tornabazi have been changed to an old tradition and been transferred from generation to generation. It is natural that by growing and expanding the technology including the presence of effective media such as cinema, radio and television, the social-cultural position of traditional coffee shops and following that the Iranian shows have been subjected to basic changes. Today, though places under the title of traditional coffee shops are established or reconstructed in some small and metropolitan cities of Iran and the different types of Iranian shows are played in these centers, this trend does not seem so stable. They sometimes become museum centers. Really how it can be dealt with the protecting and expanding the Iranian shows in these spaces and atmospheres by studying and surveying the interacting way of coffee shops and Iranian shows since old times until now as well as how could design the new spaces and locations with respect to taste and the culture of the current audience. Therefore, the most important goals of this research include the following points: 1. Presenting a model for stable development of traditions and Iranian ritual shows in today’s spaces and locations. 2. Presenting a recommending map of architectural places and spaces of streets, bazaar and mid ways. 3. Recognition of locations in contemporary coffee shops to stage the traditional-religious shows. The research questions discussed in the present article include: 1. What are the space and location attributes for performing the Iranian shows in coffee shops? 2. At present, what places and spaces have the capacity to perform the Iranian shows? The research method is based on analytical-descriptive approach. Information were extracted from the dominant coffee shops and subsequently analyzed and the results were compared. The library documents particularly the travel accounts of orientalists have been used in collecting the initial information. This article, at first, deals with the subject of coffee shops, their initial conditions, their formation and transformation as the stable places to perform Iranian shows. Then, the relationship among space, performing areas and the architecture of coffee shops have been examined. In addition, we have recommended new spaces and locations to perform Iranian shows based on the culture of Iranian society. Corresponding diagrams and models have also been presented in this regard. In fact, the study carried out and the results obtained from this research indicate that the creation of space as well as locations to perform Iranian shows in foundations and educational, social centers, passages and in terminals can also be dealt with the reconstructed and revived shapes of traditional coffee shops that are the indicative of the Iranian shows and plays.

Gendj Ali khan’s set, as a one of the most beautiful cases of Iranian Architecture and ornament in Safavid Art, consists square – Gendj Ali khan’s inn- whit inn, mosque, bath, water cistern that have placed in corners of square, and Bazar has situated around it. Each part of set is a valuable Architecture work with various ornament of Safavid. The Pleasant and two floor’s building of inn have ornaments compound of brick and tile that in comparison the other Safavid form are especial elegant. Natural, herbaceous paints-design and human, brutal paints-design are various. East and west effects are in harmony and elegance with Iranian true born completely. There are paint and brick-made work on gypsume in bathroom and water cistern that are different whit the Safavid ornament in Esfahan or the other cities, such as bathroom’s portal and Charsugh of Bazar. Theme of these elements is natural and imaginary subject of popular paints. The paints of Gendj Ali khan ’s mosque that are exceptional works, will be discuss in another paper. One of the especial ornament of inn is inscription’s portal, signed by Reza Abbasi- the famous Safavid painter and calligraphist. The method of tile-make is diaphoretic mostly in harmony with brick-made. Although the ornament of bathroom is tile in seven color whit various Natural, herbaceous and human, brutal paints-design.