مجله صفه
پیاپی 91 (زمستان 1399)

The proclamation of mourning in the form of mourning and mourning in Husayniyah, Takayya, mosques and houses over the course of time is the pride of the people of Dar al-'Abada in Yazd, and this love and affection for the people of the Beit makes the mourning more magnificent each year. To be held. This research addresses the beliefs and values ​​of the believers in Yazd in terms of recognizing and introducing the houses of Imam Hosseini in Yazd. Since some Yazd people put their homes at mourning ceremonies. The purpose of this research is to provide a solution for the continuation of these houses of Imam Hosseini in Yazd. In this way, the brief history of Hijra and the great martyrdom and history of Hazrat Sayyid al-Shohada (peace be upon him) are mentioned first, then the historical course of mourning of Imam Hussein (AS) from the beginning to the present and the hints and mourning practices of Hosseini in Yazd are expressed. In the following, the holy places and hangings of mourning and the expression of the features of the historical texture of Yazd, which houses the houses of Imam Hosseini as a bright spot, have been addressed, and by identifying the houses of Imam Hosseini in Yazd and introducing them to the analysis. These homes are being dealt with and their capacity is identified and that a house needs to be turned into a house of Imam Hosseini. The research method used in this study is qualitative content analysis, in which the information gathering method was used as a library or documentary. Ultimately, design solutions for sustainable sites are described.

Understanding cognitive territory in physical space is one of the most basic human ‎needs. One of the contraption that the Iranian architect has used for this purpose is ‎to provide a special model for spatial division in the architecture of the building, ‎in such a way that by separating public spaces and private spaces, a quiet space is ‎provided for family members without interference. Territories can be variable in ‎time and space. Some territories are under the constant supervision and control of a ‎particular individual or group. Others are temporary and almost everyone has access ‎to it, and ultimately groups, at the same time being both available to the public and ‎under the supervision of regular people. Considering the importance of this type of ‎territory (According to Altman named secondary territory) in the home, which not only ‎provides the collective space of the family but also plays a serious role in the ‎formation of social interactions and the creation of collective memories, the ‎objective of this paper investigates the evolution of the secondary territory in the ‎houses of Dezful. The approach of this research is qualitative and the research ‎method is logical argumentation. At first, using library resources, the position of ‎the territory and its related theories have been gathered. Then Based on field ‎observations and Semi-structured deep interviews with residents, the data were ‎extracted by coding. Based on that, it became possible to recognize the real ‎boundaries of each of the three kind of territories by understanding the cultural ‎features, the ways of living and life style. Investigations in the secondary ‎territories in the houses of Dezful indicate the reduction of spatial diversity, ‎from open space, semi-open space, and closed space to a completely closed space. In ‎addition, these changes have been accompanied with reduction in habitable levels and ‎elimination of vertical communication, and increase of single functional spaces.  ‎And also the results show that during this period of time, the use of secondary ‎territories has been less dependent on time and seasons, therefore less collective ‎memories has been formed.‎

Orientation and the building facade glazing percentage are two parameters necessary ‎to be considered during the early stages of architectural design in order to determine the ‎location of the building on site and control the balance between the transparent and opaque ‎parts of its envelope. The aim of this research is‏ ‏to specify the optimum‏ ‏values of orientation and ‎glazing percentage of building facade and finding the effect of deviating the variables from the ‎optimum values on the total building energy consumption. The cases of this research are the ‎schools constructed based on the current standards and specifications of‏ ‏Iran’s Organization for ‎Renovating and Developing Schools in humid temperate climate. Due to interrelation between ‎these two parameters, their impacts are studied concurrently. Research questions are:‎ ‎1-What is the optimum orientation angle and facade glazing percentage of school buildings in ‎designated climate, in terms of the lowest energy consumption? 2-What is the sensitivity factor ‎of these variables in different situations on total energy consumption of the building? 3-What is ‎the differences of changes due to deviation from the optimum values, for each parameter? ‎ In this research the Latin Hyper-cube method is used for sampling the input values; and ‎Designbuilder program with Energy Plus simulation engine is used for modeling and analysis. ‎According to the results of this study south-facing buildings have the optimum orientation with ‎whatever glazing percentage. However, the optimum glazing percentage depends on the ‎building orientation and would differ from 40 to 55 percent. This study shows that increasing ‎the glazing percentage of school buildings up until 40 percent for east–oriented buildings has the ‎most significant sensitive effect on building energy consumption, whereas increasing it more ‎than this value didn’t show a considerable effect.

To embody a collective history of Isfahan through a symbolic and monumental physical space, the recent past (Sabze Meidan) is replaced by a new place named Imam Ali square. This research, emphasizing the political aspect of memory and forgetting\remembering, has approached a critical turning toward the experience of a social group that is ignored in the mentioned project. This study, adopting grounded theory methodology and interview method, explores the lived experience of those local tradesperson in the area who are still working there. The concept of “semantic inversion of the monument”, as the core category in research findings, describes the nature of the monument construction in experience of the studied group.

Decorations in Islamic‏ ‏art are often built on combinations of repeated squares and ‎circles, which may be overlapped and interlaced to form intricate and complex patterns. ‎Based on the shapes drawn from the circle, the earliest geometrical forms in Islamic art were ‎occasional isolated geometric shapes such as 8-pointed stars and lozenges containing squares. ‎These date from 836 in the Great Mosque of Kairouan, Tunisia, and since then have spread all ‎across the Islamic world. In 1086, 7 and 10 point girih patterns (with heptagons, 5 and 6 ‎pointed stars, triangles and irregular hexagons) appear in the Jameh Mosque of Isfahan. 10 ‎point girih became widespread in the Islamic world and this kind of girih (10 point girih) is ‎the subject of this paper.‎ Girih are elaborate interlacing patterns formed of five standardized shapes. The style ‎is used in Persian Islamic architecture and also in decorative woodwork. Girih designs are ‎traditionally made in different media including cut brickwork, stucco, and ‎mosaic faience tilework. In architecture, girih forms decorative interlaced strap work surfaces ‎from the 15th century to the 20th century. Most designs are based on a partially hidden ‎geometric grid which provides a regular array of points; this is made into a pattern using 2-, 3-‎‎, 4-, and 6 fold rotational symmetries which can fill the plane. The visible pattern ‎superimposed on the grid is also geometric, with 10 and 12 pointed stars and a variety of ‎convex polygons, joined by straps which typically seem to weave over and under each other.‎ A recurring motif is the 8-pointed star, often seen in Islamic tilework; it is made of ‎two squares, one rotated 45 degrees with respect to the other. The fourth basic shape is ‎the polygon, including pentagons and octagons. All of these can be combined and reworked ‎to form complicated patterns with a variety of symmetries including reflections and rotations. ‎Such patterns can be seen as mathematical tessellations, which can extend indefinitely and ‎thus suggest infinity.‎ As it cited above, in this article, the method of 10 point girih drawing is essayed and ‎in order to maintain and ease the use of this lasting legacy in contemporary Iranian Islamic ‎architecture, the question arises as to how to minimize the tools and stages of 10 point girih ‎drawing, invented a method for drawing schematics in addition to speeding up the practice of ‎drawing and applying motifs.‎‏ ‏Authors, in response to this question, have developed a method ‎called the baseline method (eighteen – eighteen Method), which presented an original pattern ‎for drawing 10 point girih motifs. The most difference between this new method and ‎traditional method is that in this method, girih would been drawn without using circle and ‎compasses which results in a higher speed for girih drawing.‎ In this research, a combinative method has been used; the data collection is based on ‎library documentation studies, and a kind of logical methodology based on mathematical ‎relationships and mathematical proportions, is used for presenting a suitable model for ‎drawing 10 point girih.‎

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

Architectural histories do differ and to some extent, this difference roots in the historian’s “viewpoint”. The architectural historian does not look at architecture from nowhere and always has a certain perspective. Although historian’s questions, the field of his quest, types of testimonies and way of interpretation are affected most, viewpoint avoids the past architecture to be seen flatten, makes some aspects prominent and spontaneously, taking the other aspects out of attention. In this article these focal points of architecture will be discussed in four famous histories of western architecture which are totally distinct in their perspective. In each case, based on a descriptive and interpretive method and after a quick bibliographical introduction, the historian’s point of view will be discussed. Specifically, more argumentation will be on Gothic cathedral, and one of its significant examples, Chartres Cathedral. The mentioned architectural histories and their focal points are these: 1) History of Architecture on the Comparative Method (1905), looking at architecture as an evolutional solution of building problems and then, Gothic cathedral as a solution mostly based on roman arch-based architecture; 2) The Story of Western Architecture (1979), with a Marxist theory of history, seeking for the effect of social class change on labor division and the products of architectural designer; 3) A History of Architecture: Settings and Rituals (1995), seeing Gothic cathedral as a luminous place suited for holding up the rituals of new interpretation of Christianity in thirteenth century; 4) Architecture, from Prehistory to Postmodernity (2002), taking architecture as a spatio-visual art, dealing with Gothic cathedral as the physical embodiment of a transcendent vision which employed structural and formal elements of architecture for reaching to an otherworldly appearance.