جستجوی مقالات مرتبط با کلیدواژه "چهارصفه" در نشریات گروه "هنر و معماری"

Narratives and stories that were narrated by the public for some architectural works can be considered as a recognition source of a work. But in some cases, these beliefs and myths were accepted by scholars that they apply them as the default in their research without any doubt and challenge. An example of these beliefs that came to the books and articles were the narration s which narrated by the people of Afushteh village about the building in this village and, according to that, they consider the building as " Sharbatkhaneh". The name of " Sharbatkhaneh ", which seems to come from a narrative about Tajoldin Hassan Hosseini or Seyyed Vaghef, was so imbued with the building that it was never assumed that its validity is untrue. But the review of the only existing document from the buildings of Seyyed Hassan Vaghef in Afushteh, namely deed of endowment of these buildings, indicates that this name is not so much documentary; in other words, such a name does not exist in the deed of endowment. In this document, another construction called "Chahar Sofeh and Tanabi" was introduced, and in a study on the documents and buildings of Afushteh in recent years, the assumption of the construction of the " Chahar Sofeh " and "Shed house" without a detailed examination of the reasons is raised. The first goal of this study was to make it clear how convincing that is. However, it does not specify the proof of Sharbatkhaneh hypothesis, whether there was or there was not Sharbatkhaneh construction. Because the "Chahar Sofeh" refers to the space Architecture and "Sharbatkhaneh" refers to its function. So next goal is to find the function of the building; first, by validating the name of the "Sharbatkhaneh" for this building, and then by examining the names used in other sources. The product of this study, which was carried out by studying the document and the interpretation of the findings, was first to confirm the conformity of the "Chahar Sofeh " to the "Sharbatkhaneh" and the second to adopt the name of the "Timurid Chahar Sofeh" instead of using the names derived from the functions is false and invali

"Chahar Soffeh" is often considered as one of the oldest forms in Iranian residential architecture. The cruciform form, besides its climatic and structural characteristics, reflects spiritual meanings and is repeatedly used in different building designs and typologies. In Iranian architecture, this form goes beyond a mere expression in primitive building typologies and works as a hidden schema underneath the spatial organization of building typologies and creates space typologies like ‘Chahar Eyvani’ (four portals), ‘Chahar Bagh’ (four gardens), ‘Chahar Taghi’(four arched), and so on. A morphological examination of ‘Chahar Soffeh’ as a template in various examples of residential plans can provide us with a systematic understanding of the emergence and development of this template in the Iranian architecture history. Examining various plans of residential buildings, this article identifies the benefits that ‘Chahar Soffeh’ offers as a spatial component of residential architecture. Benefits include: Creating a moderate microclimate in the house in the context of dry climate of deserts; providing a large space despite its small size in the central courtyard; its geometric pattern that is very easy to implement; and finally, offering a space which can accommodate various functions in the central space of the house. Adopting a phenomenological approach in investigating some examples of residential architecture, this research depicts the design process of ‘Chahar Soffeh’, step by step in hypothetical cases. By surveying various patterns of ‘Chahar Soffeh’, the research traces this template not only in ‘Kooshks’ in Iranian Gardens but in ‘Howz-khaneh’, ‘Orosi’ and even in ‘Tehrani rooms’. After investigating various plans of Chahar Soffeh in residential buildings, the article traces the design of Chahar Soffeh to a variety of spaces such as: ‘Howz-Khaneh’ (pool rooms), ‘Orosi-Khaneh‘ (sash house) and even rooms called ‘Shekam Darideh’ and ‘Tehrani’.
In addition to looking at the benefits of ‘Chahar Soffeh’, this article presents the process of the development of this space in different hypothetical residential plans. In this way, this research depicts the design process of ‘Chahar Soffeh’, step by step in hypothetical cases. The findings of this article identifies the main benefits of ‘Chahar Soffeh’ as: Creating a nice balance of sun and shade in an arid climate, providing a wide space in a limited area as well as its geometrical design which facilitates its implementation. ‘Chahar Soffeh’ can be found in cities such as Boshruyeh and Tabas. These cities provide more original cases of a historic house with ‘Chahar Soffeh’, where the residential architecture has an introverted character with a small courtyard at its center and four portals (Ivans) on each side. In Zavvareh, however, houses have a covered central space and are within the process of transformation to larger houses with ‘Howz-Khaneh’ or ‘Kooshks’. Eventually, in courtyard houses of Iran central plateau, ‘Chahar Soffeh’ disappeared from the yard and emerged in spaces like ‘Howz-Khaneh’, ‘Tehrani’ and the like. In any case, ‘Howz-Khaneh’ remains as the main mode of expression of ‘Chahar Soffeh’.

The Pavilion can be outlined among the most important architectural identity elements in Persian gardens. Usually these structures were built in the middle of the garden and at the confluence of two longitudinal and transverse axes in such a way that it could be seen from four sides to maximize the geometrical composition of the Persian four-garden. Although relatively different reasons for the formation and structural categorization of these architectural spaces can be seen in Persian gardens. Nine-part divisions in Iranian pavilion are of an extensive use. This type of architecture is the result of the fusion of three basic requests in architecture: Attention to beauty, function and stability. Thus, the right mix of volumes, adds to their beauty. The existence of hierarchy to achieve empowerment for the palace’s performance and also the inhibition of central thrust loads, have made significant contributions to the sustainability of these Persian environments. On the other hand, this plan has strengthened the permanent request of centralization in four-part buildings, adorned Persian gardens from the Achaemenids period so far in two major forms of introvert and extravert. In this article firstly the need for such spaces in the existence of hierarchies and response to promotional aspects of palaces is demanded. Another question is that, in the same condition and in the heart of the Persian garden, why is this map implemented sometimes completely closed (Châhâr-Sofe), at times a combination of closed and semi-open spaces (Hasht-Behesht) and in rare cases like the central building of Qajar palace in Tehran, completely semi-open (Canopies)? The results of this study show that the existence of four homogeneous facades that open to the axis of the charbâgh, empowered the architectural mass over the mass of landscape and helped their coalescence and spatial fusion and in general, the hierarchical architecture in the heart of a four-garden structure would not have a better answer than a nine part space. Also it seems that, on one hand, a climatic-seasonal usage and on the other, paying attention to the bio-ritual and occasionally ceremonial functions, in order to meet the demands of the governments, are among the main reasons for these changes.

Iranian architecture follows various formal patterns, mostly had been worked in artistic pieces then worked to architectural structures. Deeply looking at motifs in artistic works and architectural plans, streaks of cosmological beliefs can be traced. Nonagon division of squares, "Chaharbagh" or "Chaharsofeh" plans can be among important ones. It seems that these patterns have been primarily used in the artistic motives such as pottery decorations before being evolved in the architectural forms. Nonagon division of square which was lately emerged in form of “nine-bay” plans can be found on the primitive motifs of Neolithic pottery decorations. Chaharbagh –four gardens- plan has been already illustrated on the Chalcolithic potteries which were found in Samarra before being used in landscape design of the historical era. However, proficiency of the Samarra potters in geometry and their awareness about the anatomy of some of the animals has been reflected in motives which were designed at the centre of the internal surface of the dishes. Some of these motives reminds the Chaharsofeh or four Ivan plans which is a typical design of the Iranian architecture in the later historical periods used in several palaces, caravanserais, schools and houses.
The present paper attempts to investigate mostly known Chaharsofeh plan. Although there have been varieties of studies in Iranian architecture, but there is not appropriate research on Chaharsofeh plan that resulted to lack of sufficient knowledge on relevant typology. As a fundamental research, present study naturally can be counted a historic-descriptive investigation, where data collected bibliographically. Collections of evidence were comparatively studied, analyzed, and interpreted. Conclusions indicate that there were ancient cosmology in such design and architecture, except ecological considerations. From one hand, cosmological Tetragonal division of the world, and on the other hand ancient beliefs that resemble the earth as "Chahartagi" that tended to center despite of regarding cardinal orientations formed and flourished the design and similar ones. Studies on several valid historic texts indicate that "Chahartagh" label has been used for various monuments, however, it explain and describe an architecture embodiment, but as architectural pattern or a design label it never signal evidences. Chaharsofeh design is appropriately compatible to Iranian architecture and responded to varieties of functions, and at the same time, covered ecological and environmental requirements of architects. It is categorized within two groups first with yard and second without it. First group remained as "four porticos" design in characteristic standard from earlier formation to recent centuries. First samples of such designs were presented at Achamenid architecture at "Treasure' section of Persepolis and "No. 3 Building" at Dahaneh Qolaman. Later, it was worked at Parthian period at Assyria Palace with a vaulted type and at Sassanid period as well. During the Islamic period and specifically in 14th century, this plan was so common that a mosque could not be imagined otherwise. It was dominant model in numerous Iranian houses, caravanserais and schools in Iranian central plateau and introduced "Chaharsofeh Style" to Iranian architecture. Several schools and tombs somewhat followed the design. The other grope subdivided to two groups firstly, the general design multiply at number 5, while the other signals the structure embodiment in a nonagon division. Known domical structures generally related to first group. It was experienced firstly at formalities hall of Bishapur Palace, dated to earlier Sassanid times, and vastly was used at domical structures of later Islamic buildings of medieval periods. The second group is in difference with "introvert nonagon domes" pattern and multiplied at nine. It divided to two itself: some vary functionally with a focal dome and peripheral chambers and small Chaharsofehs, where from exterior there can be seen a small dome from each angle. Although designs on some Sassanid vessels confirm usage of the design in elite architecture of the period, the first examples of such designs come from Sassanid fire temples. It used at some mosques' plan, several baths, several pavilions and tombs in Islamic periods. Although, this architectural standard was developed in Sassanid period, glorious evolution of this architecture occurred in later Islamic period in a way that was never experienced before. Architects and designers of the Othmanid period, specifically “Senan” developed this style in the most magnificent way. Symbolic and advertising features of this architectural style of Othmanid period is significantly sensible in the mosques such as “Shahzadeh” and “Sultan Ahmad” and developed unique masterpieces in the introvert style. Examples of this style have been found with four domes at the four corners while the buildings structure has been divided into five sections. Symbolic examples of this type are the tombs of Samanid governors in Bukhara.
At second group, nonagon type, there is relatively big Chaharsofeh with four vaulted chambers around central dome house. Several mountainous castles mountainous, plain and coastal Karvanisarais, and small road cafes also constructed on the design.