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

The manifestation of the life-giving element of water in the architecture of Iranian houses often materializes with the body of a pool. During the Qajar era, the change of the ruling circumstances followed by the amplification of Iran's foreign relations with other countries, mainly that Guilan province, based on its location in the north of the country, had played the role of the main link between Iran and European countries, varied the meaning and function of the pool in the houses of this area including the houses of Lahijan city. This research tries to understand how the house is affected by the new conditions of Guilan society and to obtain the altering definition of the material and immaterial function of the pool in the Qajar period. The current research method is interpretive-historical. It was done by resorting to library and field collection methods, and 30 Qajar houses in Lahijan were studied using a snowball sampling method and interviews with their owners. Characteristics like function, shape, position, and dimensions of the pool were determined as desired variables in the advancement of the research. The results show that in these houses, pool-making was often followed by traditional principles and in the shape of a rectangle, with the introduction of new shapes such as oval, star, triangle, or less frequently ones like octagon, the structure of this element underwent alterations. At the end of the Qajar era, the multiplicity of elements such as fountains and added curves to traditional sharp-angled shapes of the pool signifies the preference of the aesthetic aspects in the path of its socio-cultural changes. Also, the geometric complexity and the vastness of some pools are signs of the house owner's social superiority and financial capability.

As a reservoir of water, the pool has many functions. According to the researchers, specific historical periods, especially the Qajar period, have played a role in this variety of use because the architectural elements underwent significant changes (Saremi, 1996, p. 59). Relying on its spiritual and material aspects, the pool was used in fields like washing, irrigation, water storage, ablution, climatic comfort, and decorations, and over time, with the development of housing architecture following the increase of interactions between Iran and European countries, especially in the second half of the Qajar period, the metamaterial function of water element also decreased. Therefore, the pool often played a decorative role or provided daily needs for the residents.

Research Objectives and Questions: 

Understanding the importance of the pool and the transformation of its position, along with the increase of foreign communication of Iranians in the Qajar era Through many trips in the cities of Guilan province, including Lahijan, forms such questions as they are mentioned below:- Have the symbolic values ​​of the pool and its living tradition continued in the houses of Lahijan during the Qajar era?- After the connection between Iran and Europe expanded during the Qajar era, how did social developments affect the pool's traditional place in Lahijan houses?Theories: According to the mentioned questions, the hypotheses can be stated as follows:- The increase in interactions between Iranians and European countries through Guilan has affected changing the view of the people of this region, especially the people of Lahijan, towards the element of water and the pool.- With the establishment of Qajar rule in Iran and due to Guilan's geographical location and economic importance, it was considered a place for kings, merchants, and students to commute, and in this way, the grounds for the formation of transformation in its traditional architectural elements such as the pool occurred.Data Collection: Based on its historical-interpretive nature, the current qualitative research relied on two data collection methods library and field. First, the place of the pool in the traditional architecture of Iran and Guilan was studied by reading the documents, and then with the help of the snowball sampling method, 30 examples of Lahijan's Qajar houses were visited in the field, and their owners were also interviewed.

In order to carry out the present research, Qajar houses in Gabaneh, Khomarkala, Pordesar, Karevansarabar, and Gharibabad neighborhoods in Lahijan were visited and investigated. In the mentioned houses, the pool element is often located in the yard's open space, and the pools' differences can be divided into four axes of function: geometric shape, position, and dimensions. Analyzes from observations and interviews with house owners indicate that the functional aspects of the pool include factors such as beauty, health, performing ceremonies, watering, storing food items, and performing religious duties and beliefs of the residents. In terms of appearance, the pools are geometrically rectangular, with stars, triangles, octagons, and squares as the most frequent shapes. Also, looking at the aerial maps of the Qajar houses of Lahijan in the 1336 solar year, the oval shape can be seen in the pools. Their position varies near the main building of the house and on its axis of symmetry to the middle of the courtyard. The dimensions of the pool element also increase with the expansion of the dimensions of the yards. Among the analyzed pools, the size of the pools and their geometric shape indicate the social and financial status of the original owners of these buildings. Therefore, the construction of the pools, while following the traditional structure, faced the reduction of spiritual dimensions and the expansion of the decorative function. The increase in interactions between Iranians and European countries, especially in the late Qajar period, was influential. Also, due to the female gender of beauty in the mentioned era, it is suggested that future studies be conducted on how the pool is affected as an organ with a possible feminine nature in homes.

Increasing urban population and decreasing rural population due to declining desire to continue living in these places has led many researchers to look for a suitable solution, to study the two principles of sustainable development and quality of life. In the meantime, the livability that is necessary to achieve these two principles has received much attention. The best people to study livability are the villagers and the most tangible is the physical dimension .For this reason, the present article evaluates the physical indicators affecting livability.

The present article is in terms of practical purpose and seeks to identify and evaluate the physical indicators affecting livability in the villages of Lahijan city (23 villages).

The research method is descriptive-survey. The required information has been collected with the help of documentary data and preparation of checklists (census and Hadi plan) and field data and preparation of questionnaires (Dehyar and heads of households). The methods used are Copras and linear regression.

After conducting studies, 5 components (housing, transportation, services, tourism and land use change) and 71 variables were identified, which were examined for their effects on livability after indexing steps.

The results show that in the study area, the housing index was the most effective and the tourism index was the least effective indicators on livability. Also, with the help of Copras technique, the studied villages were ranked based on the use of physical indicators and it was found that Bazkiagorab and Sustan villages had the best and worst ranks, respectively. Finally, with the help of regression analysis, it was found that the selected physical indicators are effective on viability in the study area.

The present article is in terms of practical purpose and seeks to identify and evaluate the physical indicators affecting livability in the villages of Lahijan city (23 villages).

In addition to aesthetic features, works of art also reflect the socio-cultural relations of the producing context. In Gilan, many holy shrines accommodate murals that belong to the Safavid period. On the other side, Karkia Shahnameh was written in the 15th century AD in the city of Lahijan. This Shahnameh is illustrated in the style of Turkmen painting in Shiraz. This paper as the descriptive-analytical study queries the similarities and differences between the designs of Karkia Shahnameh and the murals of the holy shrines. The data collection method is based on library review, and data analysis was conducted qualitatively. The research findings show that there are some distinctive similarities between mural paintings of the studied holy shrines and portrays of the Karkia Shahnameh, so that the semiotic spaces of Shiite culture is a part of it. Both paintings have common symbolic motifs such as dragon, sun, crown and cypress tree. The motif of the sun is used in the same sense in both paintings, but the role of the dragon has a completely opposite meaning. The motif of the crown in both paintings also means kingship, power, and celestial splendor. The cypress tree also has common meanings, all of which are rooted in Iranian cultural beliefs. Although those mentioned signs almost rooted in the Iranian culture, the unique representation of the symbols in each specific artistic work (murals or book illustration) convey distinguishable meanings due to the relations with other signs within the executed context.

The current research is an attempt to reconsider one of the key regulations in the contemporary building control system pertaining to the historical fabrics of old cities in the southern coasts of the Caspian sea. It specifically concentrates on building placement and plot coverage regulations. These two interwoven regulations perform as a mediator between urban design and architectural design disciplines. The research emphasizes that these regulations should be based on vernacular building placement patterns. In this paper first a report is provided of the negative effects of the current building placement and plot coverage regulations. After that it is attempted to identify the principal characteristics of a desirable approach to the subject based on an analysis of a number of relevant international experiments. Next, as a case study the paper continues to examine historical urban fabric of Lahijan city, an old city in Guilan province. An examination of the aerial photos of the city from 1956 on, and extensive field visits indicate that in the vernacular architecture of Lahijan there were two main types of building placement patterns. First and the most common pattern was the perimiter placement of the residential building/buildings in a plot of land. It could take 15 different forms. The second pattern was a pavilion-like placement pattern which could take five different forms of arrangement. In order to investigate the frequency of each pattern, in the aerial photo of the city of 1956 the whole city is divided into 50 square pieces among which 10 pieces are selected and examined. In each piece the number of houses that uses any one of those placement patterns, is calculated. In sum 286 houses are examined and the most popular patterns are identified. These vernacular patterns can be used as a basis to rewrite the relevant regulations.

Rituals can be defined as customs which have been formed during ages, and work toward defining and adjusting humans’ relationship with society, environment, and history; the rituals also define the relationships among citizens in a symbolic space. On the one hand, rituals, as social activities, are closely related to space, influence it, and are influenced by it; and on the other hand, rituals, as cultural phenomena, have the capacity to maintain social and cultural relationships in a city; therefore, rituals can be considered as spatial, and consequently, urban phenomena. Urban rituals have always left their trace on cities. The present research aims to investigate their relationship and interaction. In the first phase of the present research, using a descriptive analytic approach, and within a qualitative framework, the interaction of city and urban rituals is investigated in order to present a conceptual model for such interaction. The results show that processional rituals, as social actions which are repeatable in certain times and places, and have a metaphoric and symbolic nature, through four major norms, i.e. openness, connection, continuity, and adaptation, interact with three major urban components, namely form, meaning, and activity. In the second phase of the research, using a survey analytic approach and using special techniques such as spatial syntax, behavior analysis as well as cognitive mapping, and using the appropriate devices, the Ashura processions in Lahijan were investigated based on the presented conceptual model. The results suggest that from the perspective of form, processional rituals have created or given form to certain elements and spaces in Lahijan. Performing them in the spatial structure of the city in the past has formed connections between several networks and spaces across the city, and in general, has contributed to the formal-spatial coherence of the city. Today, despite the changes in the structure of the city, performing these rituals reminds one of the previous structures. From the perspective of meaning, processional rituals create memorable, meaningful and symbolic spaces, and give identity and a sense of possession to spaces. Moreover, the spatial structure of the rituals is reflected as a coherent and legible structure in the mind of citizens. From the perspective of activity, the most important aspects of the processional rituals are embracing more presence, providing more freedom for activity, creating a public domain, and being democratic; these in turn lead to strengthening neighborhoods, increasing public participation and processional unity. In conclusion, given the positive effects of processional rituals on the one hand, and the problems of the old and precious urban context on the other hand, these rituals can be considered as a potential in the city. If the conditions for performing the rituals and promoting their positive effects are prepared, they can be used in the regeneration and improvement of formal and functional aspects of the old context.

Architecture of Guilan province enjoys especial physical specifications arising from temperate and humid climate conditions. Saturated moisture in the air and high level of underground waters with an impact on buildings frames have made the architecture be influenced by these conditions. Architecture of Guilan province -which due to climatic reasons insists on construction of veranda، high foundation، gable roof، by considering this fact that shrine architecture doesn’t have the residential behavior specifications- considers the shape of the building body as a function of its performance in agreement with climate. Using a descriptive-analytical method، while describing the climatic elements of Guilan architecture and enumerating a part of Lahijan history، which has been effective on multiplicity of shrines in the area، this article discusses the architecture of holy shrines and their forming elements. Selecting some outstanding and less-changed shrines in Lahijan architecture، the author tries to gain similar models in the architecture of the holy shrines in this area of Iran. From the findings of this research، it is possible to refer to a similar pattern in the shape of the tomb، ratio of open and closed spaces، walls، ceilings، decorations and number of verandas in lahijan pilgrimage units.

This research is an attempt to discover the logic behind the specific architectural design of Sheikh Zahed-e-Guilani Shrine, a monument dating back to late Timurids and early Safavids in Lahijan in Northern Iran. The hypothesis behind this research is that the design of this dome must be based on some exact geometrical relations and proportions which have not been discovered yet. After mentioning the architectural merits of the building to be studied, the important role of geometry in architectural design in old days is discussed, both in Islamic and non-Islamic architecture. This brief discussion justifies the use of geometrical analysis in order to discover the logic behind the form of this monument, specially its unique pyramidal dome. The research continues to use a geometrical analysis to understand the specific form of the dome in the main façade of the building. It illustrates the process of designing the specific pyramidal dome of the building step by step; the process that the real designer of the building had probably gone through more than five centuries ago when designing this monument. Analysis shows that a network of 45 degree slanting lines has been used as the geometrical base of the form of the dome and the whole façade; a network which is not seen in the design of traditional architectural works in central Iran and can be considered a local approach to the use of geometry in architectural design. Concerning the importance of the findings of this research two points are discussed: first, discovering these hidden geometrical relations is again a reminder of the prominent role of geometry in old architectures which is in turn an indication about how one should "read" traditional architectural works. Second, the geometrical system, used in designing this dome, can be utilized in a creative way to design new domes for religious buildings to be built in the specific cultural and geographical context of the southern coasts of Caspian Sea. The article discusses two current popular attitudes towards designing new domes in this region: the more widespread one is purchasing and installing a prefabricated metal dome with a curved profile on the roof of buildings; A profile which belongs strongly to the central parts of Iran. These domes are not usually well-integrated into vernacular architecture and the result usually suffers a sense of doubled-identity. In the second attitude, the traditional pyramidal domes of the region are imitated without enough creativity. They try to reconstruct the exact traditional forms using new building technology. Although this method considers the architectural culture of its context and tries to be respectful to it, again the non-creative result is not satisfactory. Using a form giving geometrical system similar to the one used in designing the dome of Sheikh Zahed Shrine, today's creative designer can design new domes which are new and creative in their formal design and at the same time are traditional and have their roots deep in vernacular architecture.