نشریه پژوهش های معماری اسلامی
سال دهم شماره 4 (پیاپی 37، زمستان 1401)

It seems necessary to conduct research on the towers of tomb as one of the outstanding manifestations of Iranian architecture. The dispersal and multiplicity of these buildings throughout the country demonstrates the special position of this type of buildings. Therefore, many cultural and artistic bases can be understood by recognizing and classifying these buildings and applying their architectural methods can help preserve and continue Iranian-Islamic architecture. The present article seeks to analyze the "transformation of the plan of the historical tomb towers in Iran based on time changes", which will lead to the cognition of the patterns of the tomb towers plan and the trend of changes in relation to time periods. The method used in the present article is qualitative that follows the historical strategy. Documentary and library study is one of the strategic methods that includes historiography and typology. Classification of tomb towers, study of the plan and form structure, and conformity to their geographical location and climate are some of the solutions in this article. Required information is also obtained from written sources that analyze theoretical concepts. Samples of 24 tomb towers with various plans and geographical and territorial dispersion have been selected and written data have been studied. The results of the present article confirm that in some time periods or periods of different reign, a kind of supremacy is seen in a form structure or a plan, but this type of relationship cannot be considered as the main factor in the formation of tomb towers because this type of relationship is not repetitive (plan-geographical location or plan-reign period).

Visual pollution is one of the problems of urban appearance that great negative influence on the quality of life of citizens. Some elements such as billboards and advertisements on building facades, canals and shafts for air conditioning, electricity and telephone cables, and gas pipes, façade deterioration, heterogeneity of new constructions, disruption of the historical skyline, extensions to balconies and roofs for the increasing usable area of buildings, disruption of the originality of materials due to facade pollution repairs, and furniture disorder including the scattering of lighting elements and lighting are the causes of disorder in urban facades and visual pollution. The purpose of urban rehabilitation projects is to enhance the urbanscapes and reduce visual pollution in urban facades, especially in historical contexts. Also of urban rehabilitation projects create the opportunity for the appearance of the historic city to be a more visible reflection of the historical period that has passed by reducing the disturbances and pollution of the street wall. Although rehabilitation projects have been implemented in some Iranian cities in the last decade, including Tehran, a comprehensive understanding of the issue and the purposes that such projects should pursue has not yet been achieved. Enghelab Street is one of the most important east-west streets of Tehran, which was built during the Pahlavi period. This street is located in the middle of Tehran and since the middle urban fabric of the city is the narrator of a part of the city's history that, if lost, would jeopardize the sequence of the city's story in the future, it is very important to conserve this fabric. Enghelab Street has always played an important role in the political, cultural, and social history of Tehran. The section in front of the University of Tehran, with the gathering of bookstores, has its audience, which has led to the formation of galleries, art stores, book cafes, and socio-cultural exchange spaces. Although all these factors have led to the social and economic prosperity of this part of Enghelab Street, it has also increased visual pollution. Enghelab street rehabilitation & elimination of visual pollution project was presented by the Tehran Beautification Organization in 2015-2016 to preserve historical and cultural values. They wanted to restore authenticity to this street by elimination of visual pollution, improving the facades of buildings, and organizing the billboards and advertisements on building facades. The purpose of this study is to develop the theoretical framework of urban rehabilitation projects based on the historical, identity, physical, perceptual, social, and economic aspects and components of each, and evaluate "Enghelab street rehabilitation & elimination of visual pollution project" in the city of Tehran. It should be noted that the six aspects presented in this article are not completely separate from each other, but have an inseparable interaction. The separation of them in this article is only for the purpose of making it possible to review and evaluate "Enghelab street rehabilitation & elimination of visual pollution project". This study relies on the qualitative approach. This research has two main steps in which a research method was used in each step: The first step is to use content analysis to extract the aspects of urban rehabilitation and develop the theoretical framework of the research by logical reasoning. The second step is analyzing opinions and impressions of the two groups of business owners and pedestrians and codification of interviews by Strauss and Corbin's qualitative analysis method. Through the results of the field study and interviews, the research shows that this project is more successful in "perceptual" and then "physical" aspects than other aspects based on the residents’ perspective. "Increasing legibility", "establishing visual order", and "reducing visual and light pollution" are the most important of its effects, respectively. But in the "social" aspect, especially the interaction with the business owners is less successful. The results of this study show that it is necessary to consider the six aspects of historical, identity, physical, perceptual, social, and economic aspects in urban rehabilitation project. This study also reveals that sometimes a low level of public awareness of the historical and identity aspects of the city can lead to a conflict between citizens' views and the purposes of urban planning in the field of conservation and promotion of historical and identity values. Therefore, in both "historical" and "identity" aspects, cannot rely solely on the residents’ perspective, and the use of the opinion of experts is necessary for these projects. The general agreement of the interviewees to remove all the old billboards of shops of Enghelab street without considering their historical values shows that rehabilitation projects without the use of the opinion of experts can become a threat to values, especially the physical signs of political and social memories, and rust. It should also be noted that future research is proposed to accurately assess the economic impact of this project.

Islamic architecture of Iran has passed one of the most prosperous periods in (10-13AH) centuries and the share of the geographical area of capital of Iran in most part of this period, that means the city of Isfahan, for many reasons in this glow has been very important. Although about this growth and prosperity and begin and end and its causes there is a difference of opinion, few people have doubted its existence. In this era until late Qajar period core form and art form were related and had common features in architecture and handicrafts and the coherence and harmony between them were evident. This relation is expressed with the concept of tectonic in the history of western architecture. The concept that theorists have defined it interaction between core form and art form in the context of historical culture. Gradually, this coherence and great thought with the arrival of new materials and construction methods were forgotten from late Qajar period and artistic and tectonic construction was reduced in buildings, and Iranian architecture faced a crisis. Criticism of Iranian today's architecture has been very pervasive in recent decades, Many researchers know the main cause of instability is in Lack of recognition of architectural history of Iran and its technical and artistic construction methods. On the other hand review of researches shows in the tectonic field less been paid to core form and art form of tectonics, so it is necessary to study it. The main research question is How tectonic conform and art form are related in architecture and handicrafts of Islamic Iran in (10-13H) centuries and their similarities and commonalities with the aim of understanding the tectonic rules of the Islamic architecture of Iran. for this reason in this article to recognize of wood tectonic based on interpretive epistemological paradigm, comparative reasoning and qualitative content analysis with explanatory orientation based on Gottfried Semper's theory has studied common wood tectonic features in architecture and handcraft in three levels, whole architecture (the whole building), intermedate level architectural components (column, roof edge and door and window) and small level in handcraft (pulpit, pen box, Kmanche, Tombak, mirror and boxes) in (10 – 13AH) centuries. Based on the theoretical basis of tectonics and considering that wood has been the most practical materials before the arrival of industrial steel in Iran and an important role had in the construction of load-bearing elements such as beams and columns and architectural and handicraft decorations. Wood tectonic is divided in terms of core forms to general forms and articulation and in terms of art forms to decorative surface. This tectonic features in the collection of wooden handicrafts of Metropolitan museum, Isfahan cultural heritage organization and Islamic art sites is study that have the most affinity in terms of technique and art with wooden architecture in the mentioned period.Wood handicrafts are two types: wood handicrafts which are part of the furniture like the pulpit of Hazrat Abolfazl in Aran and Bidgol of Isfahan and handicrafts that produced as movable objects such pen box, Kmanche, Tombak, mirror and wooden decorative boxes. In wooden architecture on a large scale and wooden architectural elements (beams and columns, ceilings, roof edges and doors and windows) in the middle scale are examined tectonic components from the collection of buildings and wooden elements of this period. In some cases due to the scarcity of pictorial resources inevitably has been used from examples outside the geographical area of Isfahan but attention has been paid that this samples are comparable to effects that notable similarity have with the effects of Isfahan. Because Isfahan has been the capital of Iran, many exchanges has had different geographical areas of Iran and in this regard this utilization does not harm the results of the research. Studies and surveys show that some wooden handicrafts on a large and medium scale are similar with non-wooden architecture and elements such as windbreaks and minarets that most of this heterogeneity is on a large scale and in buildings with masonry materials. These cases have been studied in the sense that in identifying wood tectonic rules are very important. Comparative study of wood tectonic features in handicrafts and architecture in the mentioned period reveals that among core form (general forms and articulation) and art form, there are important similarities in handicrafts and architecture. Wood tectonic harmony is notable in handicrafts and architecture not only in terms of core form but also art form. Tectonic subscriptions that indicate the characteristics of technical and artistic construction in Iranian architecture indicates in Iranian architecture how the building begins and ends, articulation of surfaces and decorative surfaces in terms of formal-structure is done under tectonic rules. Formal-structural similarities of wood tectonic in three scales (macro, medium and micro scale) under the tectonic rules: exposure of form and space (connect to earth and sky), articulation (different materials joint, tongue and groove, sliding joint, wick corner, bar joint and convex corner joint) are tectonic technical principles and the rule of covering surfaces(mosaic surface, border, carving, and negative surfaces) are artistic rules that expresses same tectonic culture. Tectonic culture had similar construction manifestations in similar culture and similar construction techniques have used in different materials.

Proportions can be called a mathematical concept that creates a good relationship between the components of the work in architecture and likewise a sense of order among the parts of a visual composition in the audience. Proportions not only can can make building component arrengment regular but also it can it can create a sense of aesthetics. Traditional Iranian artists and architects have been interested in geometric proportions and divisions due to their hidden relationships, and have used these proportions in their works. The present study is an attempt to find traces of proportions in Iranian mosques as one of the most prominent elements in Islamic architecture, which has explored the height proportions of four-aisled mosques through descriptive, analytical and library and field studies. An attempt has been made to extract a height or a connection pattern between the components of each of the eight mosques so that a hierarchy of height design can be imagined. In the end, by examining the proportions and height patterns, it was found that in 8 analyzed samples, all the elevation elements of the research were obtained from the height of the courtyard facade and the shortest porch of the complex with golden and Islamic-Iranian proportions. In all the studied samples, the shortest porch of the complex with the height of the courtyard facade has proportions close to the Golden Ratio. In Goharshad, Zavareh, Isfahan and Imam Boroujerd mosques, there is a similar pattern in the view of the south porch, so that the height of this porch is almost twice the height of the courtyard view in these four mosques.

In specialized topics of aesthetics, structure and function, the buildings of Islamic architecture in Iran during certain periods, show the strong presence of intellectual sciences such as mathematics. The use of geometry as a part of the science of numerical mathematics, which in its intellectual position has complex calculations, indicates the connection of Islamic architects with the mathematicians of their time. According to the available books and written documents, the architect's personal reference to complex mathematical books in terms of numerical application is a subject that has been seen in lesser power. Accordingly, in this article, the educational relationship between architects and Islamic mathematicians has been examined. Geometry in its numerical position can not be transferred to the architectural structure, and this must be transferred to a specific geometric process in terms of action. How to connect the mathematics of Islamic theology and architecture about geometry, and of a special theoretical or practical type that can be used in the field of architecture is the basic question of research. How Islamic architects have understood theoretical and practical geometry from mathematicians and have applied it in architecture. In this regard, in the present study, the author has examined the research and analysis operations by identifying the fourth to eleventh AH due to the presence of prestigious Islamic mathematicians as well as glorious Islamic architecture from a geometrically known point of view. The study of analysis on manuscripts is very valid in scientific centers. These manuscripts have been analyzed by architecture in the form of face-to-face research and academic communication in the preparation of scanned images. The manuscripts belong to Islamic scholars including Buzjani, Farabi, Ibn Sina, Akhavan al-Safa, and Jamshid Kashani. In order to study geometry in the theories of Islamic mathematicians and to obtain basic information about geometry and mathematics, the deductive method has been used in research, and the contextualist approach has been used in the discussion of historical issues of architecture and knowledge topics of geometry. The research findings show the decision of Islamic mathematicians based on the issues of Islamic belief and thought to meet the practical needs in Islamic society and beyond. Islamic architects are also among the most important learners in the field of building architecture and related matters in terms of geometry. These topics are in the form of converting numerical mathematics into theoretical geometry in its quantitative and qualitative dimensions and practical geometry to achieve practical cases in providing applied geometry for educating architects. These teachings, due to their complexity and the fact that they belong to the mathematical field of equivalence, required face-to-face educational communication. This issue is called the meetings of artists between Islamic mathematicians and architects according to its own process. In order to understand the knowledge of geometry by architectural experts in the period from the fourth to the eleventh AH, a subject has been created by Islamic mathematicians of that time that may have existed in previous centuries. This is the subject of communication classes created by Islamic mathematicians. They tried to improve jobs in various fields. In the field of architects, this issue is called Artistics Meeting. Meetings in which Islamic mathematicians, with their vast knowledge and perception, have applied theoretical knowledge to the profession and minds of artists. The method of calculating geometry in the practice of drawing and the emergence of applied volumes, surfaces and shapes has been done operationally as much as the consciousness of artists and the amount of their needs. Mathematicians such as Kashani, Farabi and Buzjani are among the most active people of the fourth to eleventh AH who have formed these sessions. What the architects have drawn and illustrated after teaching the sessions is the geometry of the Islamic mathematician, along with approximation and estimation with his previous knowledge and experience. In the past, architects used to turn to mathematicians in meetings to create architectural structures because an Islamic mathematician believes in the correctness and acceptability of a geometric theorem and teaches it when he can, through positive positivist and semantic methods of theoretical geometry. Prove it rationally. Islamic architects and mathematicians have discussed in their meetings how architecture in the field of applied geometry and have reached a conclusion in the discussion when the obtained geometry is based on theoretical and practical geometry and a correct understanding of it. Due to the breadth of perceptual understanding and experience, Islamic architects have developed the geometry learned for use in architecture into the dimensions of their profession, which is the result of a previous master and many years of experience, and use it in construction with the advice of an Islamic mathematician. Have done. This can be creativity in creating an architectural effect during the teaching of applied geometry in Artistics Meeting sessions by Islamic architects who have created magnificent and huge buildings in the period from the fourth to the eleventh AH.

By changing the concept of identity in contemporary architecture and destroying the identity of Iranian-Islamic architecture, the need to recognize this crisis in the identity of architecture today is more and more felt. The purpose of this research is to identify the factors that create the identity crisis and provide solutions for the realization of components in the architecture of Sari. In order to carry out this research, we examined the city of Sari in three macro-scale (total city), middle (neighborhoods) and wisdom (single monuments of contemporary). First, we attempted to identify the identity elements in the city, neighborhoods and contemporary buildings, and then we analyzed these factors. For this purpose, 400 questionnaires were distributed among citizens in the city of Sari, of which 274 were analyzed. In this way, we used spss software to analyze the data and statistical samples, and then we used the structural equation PLS software to analyze the correlation. The results of this study showed that what causes the identity crisis on the scale of the city, neighborhood and contemporary buildings. After identifying these factors, we need to provide some solutions to prevent this process from happening. The findings of the research indicated that the components of the monolithic scale were not sufficient to show that the residents first had to develop the principles and regulations by the relevant institutions to prevent this process of over-construction.

In the present study, in order to explain the desirability of the soundscapes of the Timchehs of Tabriz Bazaar, Sound Pressure Level (SPL) and Reverberation Time (RT) have been measured as objective variables of acoustic behavior. Using descriptive questionnaire, subjective assessments were used to determine the quality of soundscape. The research seeks to answer the question of how the spatial characteristics of Tabriz Bazaar Timchehs affect their acoustic behavior and what factors are involved in the desirability of their soundscapes. Findings show that small-scale domes act as cavities with the retention of sound waves and have a good effect in reducing RT. Glass surfaces with sound reflection increase the echo of the environment and reduce the acoustic quality of the space. The materials used in Timcheh wall, brick with gypsum bonding, by diffusing sound waves play a positive role in acoustic quality. The results show that although the values of SPL and RT, which indicate the acoustical behavior of space, are somehow involved in the perception of people from the soundscape, but alone cannot be the basis for assessing the quality of the soundscape. The environmental characteristics and qualities of the spaces such as geometric proportions, dynamics or statics and the amount of congestion have a direct effect on the pleasantness of the urban soundscape in three Timches of Amir-e Shomali, Amir and Mozaffarieh. These three timches are part of tranquil spaces, and for this reason, the sudden appearance of some sounds, due to the difference in SPL, directly has a negative effect on the quality of the soundscape. Therefore, it is suggested that a component called Urban Soundscape Clarity be added to the studies in this field and be considered in the evaluation of soundscapes of tranquil urban spaces.

Traditional geometric patterns in architecture and decoration are rooted in the cultural identity of each region and in cities such as Dezful, they display its special cultural and identity characteristics. In Dezful, the geometric patterns of the bricks, known as the khavoon chini are one of the hallmarks of the citychr('39')s cultural identity. Due to the hot climate of Dezful, the architects used hollow walls with the mentioned patterns to shade with climatic purposes. The traditional styles created in each region are the result of the experience of people who tried to create the best performance for the buildings of the region by using local elements and materials. As in Dezful, by using bricks and geometric patterns, in addition to creating special decorative elements of the region (khavoon chini), they have been thinking of creating shade in the high temperature of the city. The important point is that the thermal behavior of these patterns has not been compared and how in contemporary architecture these patterns can improve the thermal performance of walls is unknown. This study tries to revive the cultural identity of the region by using traditional geometric patterns such as khavoon chini, to provide a solution to improve the thermal behavior of hollow shaded walls and by examining the thermal behavior of these designs, to suggest an optimal model that revives the cultural identity of the city. , Have a good performance in terms of climate. The research method of this research is a combined method that in addition to historical interpretive studies, includes experimental and simulation methods. First, with the help of library and field studies, geometric patterns and native patterns were studied and classified, and then the thermal behavior of these patterns on the outer wall of the double-walled wall was analyzed by simulation. In this research, simulations were performed with Energy Plus software. The results showed that the use of traditional patterns in order to revive cultural identity in the form of geometric facades, has a very good climatic performance and reduce the indoor temperature by several degrees in the warmer months of the year. The type of geometric pattern used in the outer wall, the climatic function of the walls is different and each role requires a specific function. Accordingly, cross patterns have performed better.