In the face of the arrival of modernism in the Middle East, the first achievement of the Republic of Turkey led by Mustafa Kemal Ataturk was disconnection from the visual symbolic past. Turkey succeeded in rebuilding itself and became a role model for its neighbor, including Iran during the Pahlavi regime. Thus, the impact of modernism on the symbolic and visual structures of the past is particularly important. Therefore, the influence of Cubic architecture on the avant-garde architecture of these two leaders isessential. The current paper aims at investigating this process and its roots. This is a qualitative comparative analytical research method with a morphological analysis strategy. Data was collected with reference to library sources. For morphological analysis and comparative study, Saad Abad and Chankaya palaces were selected. Then, the indices were determined and compared. The results show that theintercultural exchanges in the twentieth century significantly transformed the urban and residential culture in Iran and Turkey. Therefore, one cannot speak of producing "universal" pure architecture in an abstract space far from the influence of local conditions or of pure "local" architecture while one place is entirely dependent on other places. Saad Abad and Chankaya are not just influenced by local or universal architecture but rather influenced by the impact of the locally and universally features. Therefore, the morphological comparison of Saad Abad and Chankaya palaces is more than the content of the cubic architecture. It is not merely a modernist imitation of Western architecture, and the past (local) architectural traditions of these countries have not been completely abandoned, and in fact they have been interconnected or compatible with the traditional and modern concepts and forms.

The palace is the hallmark of civilization and power of a government and an element influencing the structure of the city and the social, political, and cultural aspects of historical periods. Today, palace tourism is done not only to observe a historical body but also as a symbolic element of the thoughts and beliefs of power groups. The failure of specificity approach to achieve the core of the palace’s tourism culture requires the adoption of holistic approaches to understanding the identity of the building. The purpose of this article is to explain the concept of the palace and to examine how to move from partial approaches to holistic attitudes in palace tourism. For this purpose, the content analysis method with two descriptive and explanatory approaches has been used in analyzing Iranian palaces and the case of Qasr-e Qajar in Tehran. According to the research findings, adopting a landscape approach in tourism due to the nature of holistic and comprehensive perception leads to reading and explaining the identity of the whole palace as a text in the city. The explanation of Qasr-e Qajar also shows that this palace has affected and has been influenced by the social, political, historical, and natural structures of the city, both physically, functionally, and semantically, at the micro, meso and macro levels.

Jahānnāma Pavilion at the beginning of Čahārbāḡ Street is one of the famous palaces of the Safavid period, which, like many other palaces of this period, was completely destroyed during the Qajar era and specifically, the rule of Ẓell-al-Solṭān. With archaeological excavations in the approximate area of the palace in 2014, in addition to determining its exact location, a significant number of seven-color tile pieces with plant motifs were obtained. The present study was carried out with the aim of identifying the plant motifs used on the tiles of the ruined palace of Jahānnāma and finding the similarities and differences between these motifs and the plant motifs of the tiles of the remaining Safavid palaces in Isfahan and identifying their indicator Characters. The research questions are: What kind of plant motifs are mostly used in Jahānnāma Palace tiles? And what similarities or differences these plant motifs have with the plant motifs on the tiles of other Safavid palaces in Isfahan? The information of this research has been done through the method of finding and collecting library documents and texts on the one hand, and on the other hand, field investigation on 141 pieces of remained tiles from Jahānnāma Palace and compare them with the patterns of tiles of other palaces remaining from the Safavid period in Isfahan. So the research method is descriptive-analytical and comparative. The results of the research show that among the plant motifs in the tiles of Jahānnāma Palace, Eslīmī and ḵatāʾī motifs have the highest quantity, respectively, and these motifs, with their vast subsets, show that they are very similar to other motifs found on the tiles of other palaces in Isfahan. In all four researched palaces (ʿĀlīqāpū, Čehelsotūn, Haštbehešt, and Jahānnāma), the greatest similarity can be seen in the combination of Islamic motifs with ḵatāʾī motifs, while in some parts, ḵatāʾī motifs are used individually and only in one of the palaces.

Due to the extent of the empire’s territory, the remains of the Achaemenid stone pillars have been registered in different parts of Iran. The remains of this architectural style can be seen in the monumental set of Pasargadae, Persepolis., Naqsh-e Rostam, Lidoma and Tomb-e Bot in Fars Province, the remains of Shush in Khuzestan Province, and stone works of Ecbatana in Hamedan, Rivi Palace in Northern Khorasan Province, and Achaemenid palaces in Borazjan region in Bushehr province. The rock mining of these monuments was recognized as local. However, in Boushehr Province, two ancient mines of Pouzepalangi Rahdar and Tang-e Gir of Borazjan Region have been named. The maximum extraction and application of the crème color stones from the Puze- Palangi mine were registered from the palaces of the Borazjan Region. However, for the geological structure of the black-gray stone of Acamenian palace in Charkhab of Borazjan, samples of this type of stone were extracted from Charkhab palace. These samples were compared with the gray-black samples of the Bardak-e Siah and Sang-e Siah Palaces of Borazjan. With the petrographic studies of thin sections obtained from the palaces and chemical analysis of XRD and XRF, the structural process of the gray-black samples of the Achaemenid palaces of the Borazjan region entered a new stage. The results of the petrography studies indicate that the gray-black stone samples of Charkhab palace corresponded to the sample of Sang-e Siah Palace and Badak-e Siah, considering the microsprite and sprite background, and the few amount micrite as well as the layered structure. Also, the analysis of the analytical samples of XRD and CRF of these stones indicates that the samples of Charkhab Palance and Sang-e Siah are the same. Given that no trace was found in the mining for the gray-black stones in Boushehr Province so far, it can be then claimed that these stones were extracted from a non-local mine.

Among the many surviving architectural edifices of the pre-Safavid Islamic era in Iran, there are mainly the burial places, religious and public benefit buildings. However, as a matter of fact, throughout a time span of a thousand years, from the beginning of Islam until the Safavids, there is not a considerable number of palaces which belong to the pre-Safavid Iran. Therefore, the main questions here will be how the shape of the Iranian palace has been formed in this period of the Islamic era, and how their architectural and decorative characteristics were. Addressing these question could shed light on our understanding of the non-religious architecture during the Islamic times in Iran. To make this research as precise and limited as possible, investigations will be confined to the edifices belonging to the Ghaznavid period, because even though they were a dynasty of Turkic origin, their Capital, Ghazni was a center in which the Persian culture and language outshone. Therefore, due to the predominance of the Iranian culture, an authentic Iranian architecture could be sought for in this period. Hence, through studying the related works of scholars and the archeological findings of the excavation, we found no evidence of the mentioned palaces in Iran today; however, the studies suggest that within the cultural reach of Persia (Iran), the remains of the two Ghaznavid palaces in the modern day Afghanistan, have previously been excavated. Thus, studying the architectural and decorative features of these two palaces is the aim of this paper. In this manner, we could understand the architecture of the Iranian palace in this part of the Islamic era whose palatial architecture is not known enough; and also decide whether and to what extent they have been inspired by the Iranian Architecture, or if, as some western scholars have suggested, they were built with the influence of the Abbasid palaces of Samarra. The result of this study indicates that because of the four-Iwân plan in these buildings, this form of architecture has been used not only for the mosques, caravansaries and schools, but also in the palaces; in addition, they appears to have had precedence in terms of the construction time, over the other similar examples of four-portico buildings in Iran. Moreover, the comparative analysis between their characteristics and those of the older Sassanid instances as well as the palaces of Samarra, determines that apart from having been inspired by the pre-Islamic architecture of Iran, due to the predominant of Khorasani and Persian culture under the rule of Ghaznavids, the architectural style of the palace in this period has been completely Iranian.

Most of the palaces of Iran's Islamic period belonged to later periods, and there are few remains of the palaces of the early Islamic centuries. Considering this deficiency and in the absence of archeological excavations, this research aims to explore and recognise the palaces and gardens of the early Islamic centuries of Isfahan, as one of the important centers of Iranian civilization between the first and 5th centuries of Hijri. It has been carried out by using historical sources and some contemporary researches and it tries to examine the situation of Isfahan in terms government buildings and noble palaces and gardens and identity their owners and location. The results showed that many palaces were built in Isfahan in the early Islamic centuries. They are divided into two categories: government palaces and gardens and private palaces and gardens. Since the first until third century of Hijri, government examples belonged to arab rulers and private examples mainly belonged to arab nobles. In the 4th and early 5th centuries of Hijri, with the selection of Isfahan as one of Al-e-Bouyeh's government centers, government and private palaces were mainly given to the members of this family. Although the change of the urban center of Isfahan from Jey to Yahudiyeh during the studied centuries, led to a change in the place of government examples; however, palaces and private gardens were built in both time periods, mainly on the edge of the river and the coast of Zayandehrud..

The Khuzestan Governor's Palace, generally recognized as a building from the first Pahlavi period, displays architectural features that align more closely with the second Pahlavi era than the typical style of the first Pahlavi palaces. This article addresses this architectural discrepancy by conducting a historical investigation into the palace's origins and transformations, revealing new insights about its development. According to the findings, while the Governor's Palace was originally constructed and utilized during the first Pahlavi era, significant renovations were undertaken in the late 1940s. These modifications likely occurred in connection with Iran's First Construction Development Plan and involved a decision to repair and modify the structure extensively. These renovations introduced substantial and sweeping changes within a short timeframe, with the project overseen by three prominent contemporary Iranian architects—Mohsen Foroughi, Ali Sadegh, and Keyqobad Zafar Bakhtiar. The architectural plans for the renovation, prepared by these architects, were executed under the direct supervision of Foroughi and Sadegh between 1954 and 1956, thus transforming the Khuzestan Governor's Palace into an early example of palace construction influenced by second Pahlavi aesthetics. One notable aspect of this renovation was the comprehensive redesign of the palace gardens and surrounding landscape. Foroughi and Sadegh replaced the existing Western-style garden, common in the late Qajar to early Pahlavi periods, with an Iranian Charbagh design. Additionally, the architectural style of the palace itself was transformed from a neoclassical pavilion structure to a modernized design with elements referencing traditional Iranian architectural motifs. This renovation project, which was among the first of its kind during the second Pahlavi era, may have paved the way for Foroughi's later architectural work, including his designs for the Niavaran Palace, and contributed to the evolution of modern Iranian architectural practices. In addition to its architectural significance, the renovation of the Khuzestan Governor's Palace involved considerable advancements from a technical and engineering perspective. The palace facilities were thoroughly upgraded using innovative engineering methods of the time. Bhutan Company designed the heating system, which, though no longer intact, represented cutting-edge technology. Additionally, Mehdi Bazargan, a prominent mechanical engineer and contemporary political activist, designed the cooling system. These technological updates significantly altered the palace's infrastructure, enhancing its functionality to meet modern standards. Today, the transformation of the palace has left only the basement as a visible remnant of the original Pahlavi construction. This research thus provides a deeper understanding of how historical renovations can reshape a structure's identity, blending elements of different architectural periods to reflect Iran's evolving heritage.

This research aimed to determine the applicability of marketing mix strategies in the palace-museums of Tehran, namely Golestan, Sadabad and Niavaran.
Method/Research Design: A survey was conducted among 386 visitors and 102 staff members. Data gathering tool was a questionnaire.
Findings: The mean value of the marketing mix was 113.59 and in point of view of staff was 125.76 in the views of visitors and staff correspondingly (in both of above the average). With regard to application of the seven components of the marketing mix, visitors and staff, with the average of 31.99 and 32.47 correspondingly, the physical evidence component dramatically received the highest points, while the process component, with 6.42 and 7.36 on average by the visitors and the staff respectively, received the lowest points.
Considering to the richness of palace-museums in Tehran, our findings show a promising future for the application of mixed marketing techniques to attract customers.

Safavid era is a glorious period in the history of Iranian urbanization and architecture in which the gardens and palaces constructed in the mentioned era have been architecturally very important and their remains such as Naqsh-e Jahan Square, Hashtbehesht garden and palace, Chehelsotoon palace, etc. have been valuable works in the city texture. However some ruined palaces in Isfahan are superior to the remained ones .And also it is possible to perceive and complete a fabric and social illustration of the city and its historical buildings through referring to the literal and historical texts, pictures and photos remained from the certain period of the city. During the governance of Mass’oud Mirza Zell-e Soltan, the governor of Isfahan in Qajar era, inattentiveness to the architecture had been reached to its culmination; to such an extent that the valuable works of architecture such as Haft Dast palace, Ayeneh Khaneh (Mirror hall) palace and Namakdan building in Saadatabad garden were ruined by his order. So the visual recreation of Ayeneh Khaneh has been focused in this research. The preliminary plans drawn in Qajar era from this Safavid building, and also the plans which involve the changes to the building in Qajar era, have been drawn secondly in the real scale. The elements and components of this Safavid palace have been completed through the analysis and comparison of the documents, images and the mentioned drawings. Final drawings as plans, East, West and South elevations were provided and the process of palace construction was presented in 3D display. This article is a theoretical and fundamental research that its basic data was collected from library sources and was analyzed by the means of deductive approach .In this research the Ayeneh Khaneh has been identified and analyzed by historical – descriptive method and using authentic documents and content analysis of the historical texts. And also some analytical illustrations of Ayeneh Khaneh, from its structure to the architectural details, have been represented by the means of computer softwares. Finally, the obtained results can provide documentary evidences to future archeological studies and also contribute to determine the buffer zone of ruined buildings. It also worthily contributes to completion of the city image in Safavid era and also contemporary period, as well as promotion of cultural and tourism attractions of the city.

As a part of urban planning and during the construction of the underground railroad of Charbagh Street, an excavation was carried out from February to May 2015 to detect the location of Jahan Nama Palace, which was destroyed in 1935. The excavation resulted in a better understanding of the Safavid governmental house, Dowlatkhana, and Charbagh Street itself. The discovered materials belong to the pre-Islamic, pre-Safavid, Safavid, and post-Safavid periods. This article studies the architecture and artifacts, which were discovered during this excavation, of Jahan Nama Palace. Although the excavation had the usual limitations, such as time, resources, and space, it provides us with a comprehensive picture of the palace, the governmental house, and Charbagh Street. In a larger view, the results also help us locate other destroyed structures of the city more accurately. The pre-Safavid findings, which at the time were out of the city walls, represent details, which were previously unknown to us, of the suburbs of Isfahan in the middle ages. The discovery of the remains of Jahan Nama Palace, together with the maps and descriptions provided by historians and travelers, provides a framework for the planning of future investigations and the identification of related features of the city in pre- and post-Islamic era. These results demonstrate the importance of such investigations for our understanding of the historical cities of Iran. The discovery of pre-Safavid structures and pre-Islamic materials also underlines the importance of this part of the Isfahan Plain during earlier periods.