نشریه باغ نظر
سال پانزدهم شماره 64 (مهر 1397)

Statement of Problem:According to existing statistics, there are more than four thousand
descendants of Shia Imams in Iran as the major hub of Shiism. During Islamic era in Iran,
a number of magnificent mausoleums were constructed for these respected descendants of
Shia Imams which have given rise to a special style within Iranian architecture after the
mosques. It is noteworthy that in many of the mausoleums of descendants of Shia Imams
their basic influence on the process of formation, identity and expansion of many of Iranian
cities in the Islamic era


. Therefore, according to the fundamental and ideological importance
of the holy shrines in Iran, it is important to perform explorations and researches in various
aspects regarding the origin and the genesis and the formation foundations and development
of them so that the architects can be provided with a better recognition thereby to copy their
models and patterns. Of course, it is worth mentioning that, besides the Shiite holy shrines,
there are many other mausoleums in Iran’s Sunni-dwelling regions constructed with the
same patterns that belong to the assistors of the prophet (may Allah bestow him and his
sacred progeny with the best of His regards), Rashedin caliphs and Sunni Scholars.
Study

the present study aims at investigating the importance and the position
of architectural basics of the honorable holy shrines in Shiite denomination that can open a
novel orifice to discussions on Iranian-Islamic architecture and, in fact, the main objective of
the study is acquiring the architectural principles and basics of the holy shrines and figuring
out and recognizing the quality of their commonalities in conceptual and objective forms and,
eventually, using these principles as theoretical foundations in the contemporary memorial
holy shrine architecture.
Study

the present study has been carried out based on an analytical-descriptive
method and utilizes qualitative research style to analyze the content and finally infer and
express the general principles. The information has been collected through library research
and referring to authentic historical documents as well as via field studies. To do so, the
historical background and the theoretical basics of the topic have been seminally investigated.
In a second stage, five examples of the prominent architectural styles belonging to various
eras have been selected and the geometry and the constituent elements, spatial position,
naturalism and decorations therein have been evaluated and analyzed.
Study

in the end, the study findings revealed many considerable points regarding
the principles and basics of the holy shrines’ architecture and they are all indicative of the
idea that despite their being built in various eras and making use of different forms and
inscriptions and even varying functional roles, these holy shrines feature common and
identical principles such as naturalism, symbolism, introversion, similar vernacular masonry,
geometry, regular polygons, use of sacred religious symbols and elements like four-dome
roofs as well as the collective space functioning

The constructions of the building professional body has been a main research subject
in recent two decades. In Iran, the construction industry is mostly based on an
overwhelming pattern of mutual design practices where the majority of expert personals
are design and construction technicians. But these human forces have always been
marginalized within research discourse as well as the educational context of architecture.
The study aims at clarifying the occupational position of draftspersons and construction
technicians and their impact on architectural designs. The first part of the article, proposes a
conceptual framework for studying status of architectural technicians from antiquity to present
comparing Iran and the west. For the second part, a logical analysis of official documents is
used to produce a general model of the subject. The ethnographical strategy is chosen for the
third part of the research where middle-range forces of the small design practices of Qom are
studied (using deep observation, deep interview, and objective questionnaire technics) to be
compared with findings of previous studies and make conclusions. The results of this study
show that draftsman place in its historical evolution has experienced a vast change from an
expertise-based hierarchy towards societal hierarchy. The all models of the varieties of occupation
patterns of building technicians around the world are summed up in four conceptual models.
The difference of the models falls into directness or indirectness of the mediatory role of the
technician between architectural designer and other human figures in design decision making
(clients, law agents, other engineers of building and operational forces). For Iranian small design
practices, official duties, integration with clients and designing of some small projects are three
common roles of the technician that are not within their official defined education as well as
professional place. This fact invites to a review of their education an occupational pattern

The relationship between man and architecture is usually assessed using behavioral
science. However, this research intended to study architecture as a cognitive component
using 4E cognition. This is different from the effect of environment on cognition which
is often theorized as externalism within frameworks such as environmental psychology.
This approach introduces architecture as an essential part of the mind and cognition.
The main research question was: how does architecture act as the causative component
of cognition? The main purpose of this study was to provide a new understanding of the
nature of architecture and consequently, a new discourse to be established with architecture,
particularly in the case of interactive and adaptive architectures which practically act as an
extension of the body (prosthesis). At the strategic level, the research method was logical
argumentation which, at the level of measures, based the analysis of architecture, as the
extensive mind, on Merleau-Ponty’s phenomenology of embodiment, as the external logic
of the argument. This study answered the research question by proving the essential role
of metaphor in embodied cognition and consciousness and then, the role of architecture
in generating primary and mixed metaphors. Therefore, here, metaphor is not considered
a literary device but the foundation of abstract concepts and is strongly dependent on the
characteristics of the body of the agent and the function of the body within the environment.
The results of this study showed that architecture, as a body, acts as part of the extended
mind or as an Exogram and architecture, as space, is the creator, weight-giver, and changer
of primary metaphors by means of our sensory-motor behaviors and thus acts as an extensive
and integrated mind

Natural deterioration is only one of the identified threats to historic properties. There is a
broader range of threats including natural and climatic effects and also human activities.
The human acts are not limited to such anti-social behaviors that in behavioral sociology are
known as vandalism; they also include culturally approved acts such as cultural rituals, etc.
that are truly valued by their entire society. Sometimes these cultural acts could directly or
indirectly cause damages to historic properties. This raises an important dilemma vis-à-vis
to the preservation of cultural heritage and its tangible and intangible values: What should
we preserve, the cultural property or the cultural practice? How is it possible to prevent
damages to historic properties, but also to be able to preserve cultural practices that are
essential characters to Cultural Landscape richness? In the preservation of cultural heritage,
and more particularly those subjects related to the cultural landscape, understanding the
integrity of the historic property and its related cultural beliefs support its success and
authenticity.
This paper considers three such kinds of cultural behaviors from the wide variety of Iran’s
cultural geography and analyzes their psychological, social and traditional aspects in order
to examine the possibility of multi-preservation methods for these difficult cases

Issue statement: The Sphinx is one of the types of composite creature’s motif that the
ancient man created it with his own mind and imagination and developed it with different
concepts and appearances during different historical periods. This motif had also appeared
in Iran and were used in ancient and Islamic times. Despite the use and significance of the
Sphinx in Iranian historical periods, this motif has been less studied and is still considered
to be ambiguous. Therefore, in this research, the Sphinx has been studied as widely used
motif in two historical periods of Iran, the Achaemenid in ancient era and the Seljuk
in Islamic era.

The purpose of this study is to compare the differences and
similarities of the Sphinx in the Achaemenid period and the Seljuk period.
Research

The images of the Sphinx during the Achaemenid period and the
Seljuk period and its related concepts were searched and based on descriptive method,
the characteristics of each were described in the tables separately and the most important
structural features of motifs were identified. Then, with an analytical approach, the possible
reasons and sources of their application have been discussed and analyzed. In addition,
from a visual perspective, they were examined and finally matched together.

The results of this study indicate the similarities and distinctions of the
Sphinx in these two historical periods. In general, it can be said that in the most cases,
Achaemenid art and Seljuk art, the Sphinx in terms of structural features are different and
in terms of concepts and functional role have many similarities. In the visual examination,
it was also found that both of them are similar in terms of composition, rhythm, and type
of script. The Sphinx in the Achaemenid period symbolizes the sun, the power of the
kingdom, the protector of the tree of life and palace guardian, the prayers on both sides of
the tree of life. In the Seljuk period, it is the symbol of the sun, blessing, mystical aspects,
constellations, magic, palace guardian, the protector of the tree of life, and the prayers on
both sides of the tree of life

Problem statement: Among the various branches of architecture, the monuments of the tomb have a special place; therefore, the tombs after the mosques are the most common building in Iran and have rooted in the context and culture of Iran. The tomb’s health of a large number of Characters, especially scholars and mystics are unknown, and even in many cases, the date of death and the place of death has not been considered. The Harmony building in the Old Town of Toos is one of the buildings where there is a lot of ambiguity about the exact operation and construction history. Purpose and method of the research: The main topic in this article is the elimination of these ambiguities and the recognition of the Harmony building, by reviewing written and non-textual sources (library-documentary and field) and comparative study and comparing it with other similar and contemporary works. The type of research in this article is descriptive-analytic and historical content. The Result of the Research: based on what has previously been mentioned, it can be concluded that Haroonia is a building that was built in the 8th century AD and during the rule of the Shi’ite ruler of Sarbadās dynasty, in order to burial one of the ancients and dervishes of this dynasty. Political conflicts and power struggles and the early fall of Sarbadās in the eighth century AH led to the unfinished construction, and after some time, its historical and religious signs were destroyed by subsequent governments, and it was recognized in Haroonia without any historical backing